Category Archives: 3D

Calabash animates characters for health PSA

It’s a simple message, told in a very simple way — having a health issue and being judged for it, hurts. An animated PSA for The Simon Foundation, titled Rude2Respect, was animated by Chicago’s Calabash in conjunction with the creative design studio Group Chicago.

Opening with typography “Challenging Health Stigma,” the PSA features two friends — a short, teal-colored tear-dropped blob known simply as Blue and his slender companion Pink — taking a walk on a bright sunny day in the city. Blue nervously says, “I’m not sure about this,” to which Pink responds, “You can’t stay home forever.” From there the two embark on what seems like a simple stroll to get ice cream, but there is a deeper message about how such common events can be fraught with anxiety for those suffering from an array of health conditions that often results in awkward stares, well-intentioned but inappropriate comments or plain rudeness. Blue and Pink decide it’s the people with the comments that are in the wrong and continue on to get ice cream. The spot ends with the simple words “Health stigma hurts. We can change lives” followed by a link to www.rude2respect.org.

“We had seen Calabash’s work and sought them out,” says Barbara Lynk, Group Chicago’s creative director. “We were impressed with how well their creative team immediately understood the characters and their visual potential. Creatively they brought a depth of experience on the conceptual and production side that helped bring the characters to life. They also understood the spare visual approach we were trying to achieve. It was a wonderful creative collaboration throughout the process, and they are a really fun group of creatives to work with.”

Based on illustrated characters created by Group Chicago’s founder/creative director Kurt Meinecke, Calabash creative director Wayne Brejcha notes that early on in the creative process they decided to go with what he called a “two-and-a-half-D look.”

“There is a charm in the simplicity of Kurt’s original illustrations with the flat shapes that we had to try very hard to keep as we translated Blue and Pink to the 3D world,” Brejcha says. “We also didn’t want to overly complicate it with a lot of crazy camera moves rollercoastering through the space or rotating around the characters. We constrained it to feel a little like two-and-a-half dimensions – 2D characters, but with the lighting and textures and additional physical feel you expect with 3D animation.

“We spent a good deal of time with thumbnail boardomatics, a scratch track and stand-in music as it began to gel,” he continues. “Kurt searched out some piano music for the intro and outro, which also set tone, and we cast for voices with the personalities of the figures in mind. After a few conversations with Kurt and Barb we understood the personalities of Blue and Pink very well. They’re archetypes or incarnations of two stages of dealing with, say, going out in public with some medical apparatus you’re attached to that’s plainly visible to everyone. The Blue guy is self-conscious, defensive, readily upset and also ready to bring a little push-back to the folks who call out his non-normative qualities. Pink is a little further along in accepting the trials. She can shake off with equanimity all the outright insults, dopey condescension and the like. She’s something of a mentor or role model for Blue. The characters are made of simple shapes, so animator Nick Oropezas did a lot of tests and re-animation to get just the right movements, pauses, timing and expressions to capture those spirits.”

For Sean Henry, Calabash’s executive producer, the primary creative obstacles centered on finding the right pacing for the story. “We played with the timing of the edits all the way through production,” he explains. “The pace of it had a large role to play in the mood, which is more thoughtful than your usual rapid-fire ad. Also, finding the right emotions for the voices was also a major concern. We needed warmth and a friendly mentoring feel for Pink, and a feisty, insecure but likeable voice for Blue. Our voice talent nailed those qualities. Additionally, the dramatic events in the spot happen only in the audio with Pink and Blue responding to off-screen voices and action, so the sound design and music had a major storytelling role to play as well.”

Calabash called on Autodesk Maya for the characters and Foundry’s Nuke for effects/compositing. Adobe Premiere was used for the final edit.

Nugen adds 3D Immersive Extension to Halo Upmix

Nugen Audio has updated its Halo Upmix with a new 3D Immersive Extension, adding further options beyond the existing Dolby Atmos bed track capability. The 3D Immersive Extension now provides ambisonic-compatible output as an alternative to channel-based output for VR, game and other immersive applications. This makes it possible to upmix, re-purpose or convert channel-based audio for an ambisonic workflow.

With this 3D Immersive Extension, Halo fully supports Avid’s newly announced Pro Tools V.2.8, now with native 7.1.2 stems for Dolby Atmos mixing. The combination of Pro Tools 12.8 and Halo 3D Immersive Extension can provide a more fluid workflow for audio post pros handling multi-channel and object-based audio formats.

Halo Upmix is available immediately at a list price of $499 for both OS X and Windows, with support for Avid AAX, AudioSuite, VST2, VST3 and AU formats. The new 3D Immersive Extension replaces the Halo 9.1 Extension and can now be purchased for $199. Owners of the existing Halo 9.1 Extension can upgrade to the Halo 3D Immersive Extension for no additional cost. Support for native 7.1.2 stems in Avid Pro Tools 12.8 is available on launch.

Cinna 1.2

Red’s Hydrogen One: new 3D-enabled smartphone

In their always subtle way, Red has stated that “the future of personal communication, information gathering, holographic multi-view, 2D, 3D, AR/VR/MR and image capture just changed forever” with the introduction of Hydrogen One, a pocket-sized, glasses-free “holographic media machine.”

Hydrogen One is a standalone, full-featured, unlocked multi-band smartphone, operating on Android OS, that promises “look around depth in the palm of your hand” without the need for separate glasses or headsets. The device features a 5.7-inch professional hydrogen holographic display that switches between traditional 2D content, holographic multi-view content, 3D content and interactive games, and it supports both landscape and portrait modes. Red has also embedded a proprietary H30 algorithm in the OS system that will convert stereo sound into multi-dimensional audio.

The Hydrogen system incorporates a high-speed data bus to enable a comprehensive and expandable modular component system, including future attachments for shooting high-quality motion, still and holographic images. It will also integrate into the professional Red camera program, working together with Scarlet, Epic and Weapon as a user interface and monitor.

Future-users are already talking about this “nifty smartphone with glasses-free 3D,” and one has gone so far as to describe the announcement as “the day 360-video became Betamax, and AR won the race.” Others are more tempered in their enthusiasm, viewing this as a really expensive smartphone with a holographic screen that may or might not kill 360 video. Time will tell.

Initially priced between $1,195 and $1,595, the Hydrogen One is targeted to ship in Q1 of 2018.


John Hughes, Helena Packer, Kevin Donovan open post collective

Three industry vets have combined to launch PHD, a Los Angeles-based full-service post collective. Led by John Hughes (founder of Rhythm & Hues), Helena Packer (VFX supervisor/producer) and Kevin Donovan (film/TV/commercials director), PHD works across the genres of VR/AR, independent films, documentaries, TV — including limited series and commercials. In addition to post production, including color grading, offline and online editorial, the visual effects and final delivery, they offer live-action production services. In addition to Los Angeles, PHD has locations in India, Malaysia and South Africa.

Hughes was the co-founder of the legendary VFX shop Rhythm & Hues (R&H) and led that studio for 26 years, earning three Academy Awards for “Best Visual Effects” (Babe, The Golden Compass, Life of Pi) as well as four scientific and engineering Academy Awards.

Packer was inducted into the Academy of Motion Picture Arts and Sciences (AMPAS) in 2008 for her creative contributions to filmmaking as an accomplished VFX artist, supervisor and producer. Her expertise extends beyond feature films to episodic TV, stereoscopic 3D and animation. Packer has been the VFX supervisor and Flame artist for hundreds of commercials and over 20 films, including 21 Jump Street and Charlie Wilson’s War.

Director Kevin Donovan is particularly well-versed in action and visual effects. He directed the feature film, The Tuxedo, and is currently producing the TV series What Would Trejo Do? He has shot over 700 commercials during the course of his career and is the winner of six Cannes Lions.

Since the company’s launch, PHD has worked on a number of projects — two PSAs for the Climate Change organization 5 To Do Today featuring Arnold Schwarzenegger and James Cameron called Don’t Buy It and Precipice
a PSA for the international animal advocacy group WildAid shot in Tanzania and Oregon called Talking Elephant, another for WildAid shot in Cape Town, South Africa called Talking Rhino, and two additional WildAid PSAs featuring actor Josh Duhamel called Souvenir and Situation.

“In a sense, our new company is a reconfigured version of R&H, but now we are much smarter, much more nimble and much more results driven,” says Hughes about PHD. “We have very little overhead to deal with. Our team has worked on hundreds of award-winning films and commercials…”

Main Photo: L-R:  John Hughes, Helena Packer and Kevin Donovan.


Liron Ashkenazi-Eldar joins The Artery as design director  

Creative studio The Artery has brought on Liron Ashkenazi-Eldar as lead design director. In her new role, she will spearhead the formation of a department that will focus on design and branding. Ashkenazi-Eldar and team are also developing in-house design capabilities to support the company’s VFX, experiential and VR/AR content, as well as website development, including providing motion graphics, print and social campaigns.

“While we’ve been well established for many years in the areas of production and VFX, our design team can now bring a new dimension to our company,” says Ashkenazi-Eldar, who is based in The Artery’s NYC office. “We are seeking brand clients with strong identities so that we can offer them exciting, new and even weird creative solutions that are not part of the traditional branding process. We will be taking a completely new approach to branding — providing imagery that is more emotional and more personal, instead of just following an existing protocol. Our goal is to provide a highly immersive experience for our new brand clients.”

Originally from Israel, the 27-year-old Ashkenazi-Eldar is a recent graduate of New York’s School of Visual Arts with a BFA degree in Design. She is the winner of a 2017 ADC Silver Cube Award from The One Club, in the category 2017 Design: Typography, for her contributions to a project titled Asa Wife Zine. She led the Creative Team that submitted the project via the School of Visual Arts.

 


Shotgun 7.2 — plug-and-play integrations, streaming in RV, more

Shotgun has released Version 7.2 of its cloud-based review and production tracking software. With an eye on simplifying workflows and helping studios of all sizes collaborate, this latest update transforms integrations with content creation tools and streamlines the review process.

Updates to RV also make reviewing media from the cloud seamless and SDI functionality is now standard. The release also adds single sign-on to give IT departments centralized control over user access and permissions in Shotgun.

Highlights include:
– Plug-and-Play Integrations: It’s now easier for Shotgun users to connect their content creation tools with Shotgun. New plug-and-play integrations auto-discover Maya, Nuke, Photoshop, Houdini, 3ds Max and Flame, and then embed the Shotgun Panel, loader and publisher directly within them without requiring any manual configuration.
 – Web Streaming in RV: Many Shotgun users work on dispersed teams around the world, and might not always have access to the high-res media for reviews in RV. With the addition of cloud playback support in RV, web-connected artists and supervisors can review shots in context, even if the content is not stored on their computers. Shotgun simply recognizes if media isn’t available and seamlessly pulls it into RV from Shotgun on the web.
– New Publisher: A new publisher tool allows for easy tracking of files in Shotgun and can either run in content creation tools or as a standalone app. This gives users the flexibility to publish files from any content creation tools, not just the ones currently supported by Shotgun.
– Single Sign-On: Single sign-on bolsters security in-house by centralizing authentication, making it easy for your IT department to grant, limit and revoke access and permissions for any user.
– SDI Functionality in RV: SDI functionality, previously only available with Shotgun’s deeper support option, is now available to all Shotgun clients.

Shotgun pricing starts at $30 per account/per month with standard support, or $50 per account/per month with deeper support. Free trials are available here.


Nice Shoes Creative Studio animates limited-edition Twizzlers packages

Twizzlers and agency Anomaly recently selected 16 artists to design a fun series of limited edition packages for the classic candy. Each depicts various ways people enjoy Twizzlers. New York’s Nice Shoes Creative Studio, led by creative director Matt Greenwood, came on board to introduce these packages with an animated 15-second spot.

Three of the limited edition packages are featured in the fast-paced spot, bringing to life the scenarios of car DJing, “ugly crying” at the movies, and studying in the library, before ending on a shot that incorporates all of the 16 packages. Each pack has its own style, characters, and color scheme, unique to the original artists, and Nice Shoes was careful to work to preserve this as they crafted the spot.

“We were really inspired by the illustrations,” explains Greenwood. “We stayed close to the original style and brought them into a 3D space. There’s only a few seconds to register each package, so the challenge was to bring all the different styles and colors together within this time span. Select characters and objects carry over from one scene into the next, acting as transitional elements. The Twizzlers logo stays on-screen throughout, acting as a constant amongst the choreographed craziness.”

The Nice Shoes team used a balance of 3D and 2D animation, creating a CG pack while executing the characters on the packs with hand-drawn animation. Greenwood proposed taking advantage of the rich backgrounds that the artists had drawn, animating tiny background elements in addition to the main characters in order to “make each pack feel more alive.”

The main Twizzlers pack was modeled, lit, animated and rendered in Autodesk Maya which was composited in Adobe After Effects together with the supporting elements. These consisted of 2D hand-drawn animations created in Photoshop and 3D animated elements made with Mason Cinema 4D.

“Once we had the timing, size and placement of the main pack locked, I looked at which shapes would make sense to bring into a 3D space,” says Greenwood. “For example, the pink ribbons and cars from the ‘DJ’ illustration worked well as 3D objects, and we had time to add touches of detail within these elements.”

The characters on the packs themselves were animated with After Effects and applied as textures within the pack artwork. “The flying books and bookcases were rendered with Sketch and Toon in Cinema 4D, and I like to take advantage of that software’s dynamics simulation system when I want a natural feel to objects falling onto surfaces. The shapes in the end mnemonic are also rendered with Sketch and Toon and they provide a ‘wipe’ to get us to the end lock-up,” says Greenwood.

The final step during the production was to add a few frame-by-frame 2D animations (the splashes or car exhaust trail, for example) but Nice Shoes Creative Studio waited until everything was signed off before they added these final details.

“The nature of the illustrations allowed me to try a few different approaches and as long as everything was rendered flat or had minimal shading, I could combine different 2D and 3D techniques,” he concludes.


Behind the Title: Artist/Creative Director Barton Damer

NAME: Barton Damer

COMPANY: Dallas-based  Already Been Chewed

CAN YOU DESCRIBE YOUR COMPANY?
AlreadyBeenChewed is a boutique studio that I founded in 2010. We have created a variety of design, motion graphics and 3D animated content for iconic brands, including Nike, Vans, Star Wars, Harry Potter and Marvel Comics. Check out our motion reel.

WHAT’S YOUR JOB TITLE?
Owner/Founding Artist/Creative Director

WHAT DOES THAT ENTAIL?
My job is to set the vibe for the types of projects, clients and style of work we create. I’m typically developing the creative, working with our chief strategy officer to land projects and then directing the team to execute the creative for the project.

WHAT WOULD SURPRISE PEOPLE ABOUT WHAT FALLS UNDER THAT TITLE?
When you launch out on your own, it’s surprising how much non-creative work there is to do. It’s no longer good enough to be great at what you do (being an artist). Now you have to be excellent with communication skills, people skills, business, organization, marketing, sales and leadership skills. It’s surprising how much you have to juggle in the course of a single day and still hit deadlines.

WHAT’S YOUR FAVORITE PART OF THE JOB?
Developing a solution that will not only meet the clients needs but also push us forward as a studio is always exciting. My favorite part of any job is making sure it looks amazing. That’s my passion. The way it animates is secondary. If it doesn’t look good to begin with, it won’t look better just because you start animating it.

WHAT’S YOUR LEAST FAVORITE?
Dealing with clients that stress me out for various reasons —whether it’s because they are scope creeping or not realizing that they signed a contract… or not paying a bill. Fortunately, I have a team of great people that help relieve that stress for me, but it can still be stressful knowing that they are fighting those battles for the company. We get a lot of clients who will sign a contract without even realizing what they agreed to. It’s always stressful when you have to remind them what they signed.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
Night time! That’s when the freaks come out! I do my best creative at night. No doubt!

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Real estate investing/fixing up/flipping. I like all aspects of designing, including interior design. I’ve designed and renovated three different studio spaces for Already Been Chewed over the last seven years.

HOW EARLY ON DID YOU KNOW THIS WOULD BE YOUR PATH?
I blew out my ACL and tore my meniscus while skateboarding. I wanted to stay involved with my friends that I skated with knowing that surgery and rehab would have me off the board for at least a full year. During that time, I began filming and editing skate videos of my friends. I quickly discovered that the logging and capturing of footage was my least favorite part, but I loved adding graphics and motion graphics to the skate videos. I then began to learn Adobe After Effects and Maxon Cinema 4D.

At this time I was already a full-time graphic designer, but didn’t even really know what motion graphics were. I had been working professionally for about five or six years before making the switch from print design to animation. That was after dabbling in Flash animations and discovering I didn’t want to do code websites (this was around 2003-2004).

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
We recently worked with Nike on various activations for the Super Bowl, March Madness and got to create motion graphics for storefronts as part of the Equality Campaign they launched during Black History Month. It was cool to see our work in the flagship Niketown NYC store while visiting New York a few weeks ago.

We are currently working on a variety of projects for Nike, Malibu Boats, Training Mask, Marvel and DC Comics licensed product releases, as well as investing heavily in GPUs and creating 360 animated videos for VR content.

HOW DID THE NIKE EQUALITY MOTION GRAPHICS CAMPAIGN COME TO FRUITION?
Nike had been working on a variety of animated concepts to bring the campaign to life for storefronts. They had a library of animation styles that had already been done that they felt were not working. Our job was to come up with something that would benefit the campaign style.

We recreated 16 athlete portraits in 3D so that we could cast light and shadows across their faces to slowly reveal them from black and also created a seamless video loop transitioning between the athlete portraits and various quotes about equality.

CAN YOU DESCRIBE THE MOTION GRAPHICS SCOPE OF THE NIKE EQUALITY CAMPAIGN, AND THE SOFTWARE USED?
The video we created was used in various Nike flagship stores — Niketown NYC, Soho and LA, to name a few. We reformatted the video to work in a variety of sizes. We were able to see the videos at Niketown NYC where it was on the front of the window displays. It was also used on large LED walls on the interior as well as a four-story vertical screen in store.

We created the portrait technique on all 16 athletes using Cinema 4D and Octane. The remainder of the video was animated in After Effects.

The portraits were sculpted in Cinema 4D and we used camera projection to accurately project real photos of the athletes onto the 3D portrait. This allowed us to keep 100 percent accuracy of the photos Nike provided, but be able to re-light and cast shadows accordingly to reveal the faces up from black.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
That’s a tough one. Usually, it’s whatever the latest project is. We’re blessed to be working on some really fun projects. That being said… working on Vans 50th Anniversary campaign for the Era shoe is pretty epic! Especially since I am a long time skateboarder.

Our work was used globally on everything from POP displays to storefronts to interactive Website takeover and 3D animated spots for broadcast. It was amazing to see it being used across so many mediums.

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
A computer, my iPhone and speakers!

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I’m very active on Instagram and Facebook. I chose to say “no” to Snapchat in hopes that it will go away so that I don’t have to worry about one more thing (he laughs), and twitter is pretty much dead for me these days. I log in once a month and see if I have any notifications. I also use Behance and LinkedIn a lot, and Dribbble once in a blue moon.

DO YOU LISTEN TO MUSIC WHILE YOU WORK? IF SO, WHAT KIND?
My 25-year-old self would cyber bully me for saying this but soft Drake is “Too Good” these days. Loving Travis Scott and Migos among a long list of others.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
First I bought a swimming pool to help me get away from the computer/emails and swim laps with the kids. That worked for a while, but then I bought a convertible BMW to try to ease the tension and enjoy the wind through my hair. Once that wore off and the stress came back, I bought a puppy. Then I started doing yoga. A year later I bought another puppy.


Sound editor/mixer Korey Pereira on 3D audio workflows for VR

By Andrew Emge

As the technologies for VR and 360 video rapidly advance and become more accessible, media creators are realizing the crucial role that sound plays in achieving realism. Sound designers are exploring this new frontier of 3D audio at the same time that tools for the medium are being developed and introduced. When everything is so new and constantly evolving, how does one learn where to start or decide where to invest time and experimentation?

To better understand this process, I spoke with Korey Pereira, a sound editor and mixer based in Austin, Texas. He recently entered the VR/360 audio world and has started developing a workflow.

Can you provide some background about who you are, the work you’ve done, and what you’ve been up to lately?
I’m the owner/creative director at Soularity Sound, an Austin-based post company. We primarily work with indie filmmakers, but also do some television and ad work. In addition to my work at Soularity, I also work as a sound editor and mixer at a few other Austin post facilities, including Soundcrafter. My credits with them include Richard Linklater’s Boyhood and Everybody Wants Some, as well as TV shows such as Shipping Wars and My 600lb Life.

You recently purchased the Pro Sound Effects NYC Ambisonics library. Can you talk about some VR projects you are working on?
In the coming months I plan to start creating audio content for VR with a local content creator, Deepak Chetty. Over the years we have collaborated on a number of projects, most recently I worked on his stereoscopic 3D sci-fi/action film, Hard Reset, which won the 2016 “Best 3D Live Action Short” from the Advanced Imaging Society.

Deepak Chetty shooting a VR project.

I love sci-fi as a genre, because there really are no rules. It lets you really go for it as far as sound. Deepak has been shifting his creative focus toward 360 content and we are hoping to start working together in that aspect in the near future.

The content Deepak is currently mostly working on non-fiction and documentary-based content in 360 — mainly environment capture with a through line of audio storytelling that serves as the backbone of the piece. He is also looking forward to experimenting with fiction-based narratives in the 360 space, especially with the use of spatial audio to enhance immersion for the viewer.

Prior to meeting Deepak, did you have any experience working with VR/3D audio?
No, this is my first venture into the world of VR audio or 3D audio. I have been mixing in surround for over a decade, but I am excited about the additional possibilities this format brings to the table.

What have been the most helpful sources for studying up and figuring out a workflow?
The Internet! There is such a wealth of information out there, and you kind of just have to dive in. The benefit of 360 audio being a relatively new format is that people are still willing to talk openly about it.

Was there anything particularly challenging to get used to or wrap your head around?
In a lot of ways designing audio for VR is not that different from traditional sound mixing for film. You start with a bed of ambiences and then place elements within a surround space. I guess the most challenging part of the transition is anticipating how the audience might hear your mix. If the viewer decides to watch a whole video facing the surrounds, how will it sound?

Can you describe the workflow you’ve established so far? What are some decisions you’ve made regarding DAW, monitoring, software, plug-ins, tools, formats and order of operation?
I am a Pro Tools guy, so my main goal was finding a solution that works seamlessly inside the Pro Tools environment. As I started looking into different options, the Two Big Ears Spatial Workstation really stood out to me as being the most intuitive and easiest platform to hit the ground running with. (Two Big Ears recently joined Facebook, so Spatial Workstation is now available for free!)

Basically, you install a Pro Tools plug-in that works as a 3D audio engine and gives you a Pro Tools project with all the routing and tracks laid out for you. There are object-based tracks that allow you to place sounds within a 3D environment as well as ambience tracks that allow you to add stereo or ambisonic beds as a basis for your mix.

The coolest thing about this platform is that it includes a 3D video player that runs in sync with Pro Tools. There is a binaural preview pathway in the template that lets you hear the shift in perspective as you move the video around in the player. Pretty cool!

In September 2016, another audio workflow for VR in Pro Tools entered the market from the Dutch company Audio Ease and their 360 pan suite. Much like the Spatial Workstation, the suite offers an object-based panner (360 pan) that when placed on every audio track allows you to pan individual items within the 360-degree field of view. The 360 pan suite also includes the 360 monitor, which allows you to preview head tracking within Pro Tools.

Where the 360 pan suite really stands out is with their video overlay function. By loading a 360 video inside of Pro Tools, Audio Ease adds an overlay on top of the Pro Tools video window, letting you pan each track in real time, which is really useful. For the features it offers, it is relatively affordable. The suite does not come with its own template, but they have a quick video guide to get you up and going fairly easily.

Are there any aspects that you’re still figuring out?
Delivery is still a bit up in the air. You may need to export in multiple formats to be able to upload to Facebook, YouTube, etc. I was glad to see that YouTube is supporting the ambisonic format for delivery, but I look forward to seeing workflows become more standardized across the board.

Any areas in which you see the need for further development, and/or where the tech just isn’t there yet?
I think the biggest limitation with VR is the lack of affordable and easy-to-use 3D audio capture devices. I would love to see a super-portable ambisonic rig that filmmakers can easily use in conjunction with shooting 360 video. Especially as media giants like YouTube are gravitating toward the ambisonic format for delivery, it would be great for them to be able to capture the actual space in the same format.

In January 2017, Røde announced the VideoMic Soundfield — an on-camera ambisonic, 360-degree surround sound microphone — though pricing and release dates have not yet been made public.

One new product I am really excited about is the Sennheiser Ambeo VR mic, which is around $1,650. That’s a bit pricey for the most casual user once you factor in a 4-track recorder, but for the professional user that already has a 788T, the Ambeo VR mic offers a nice turnkey solution. I like that the mic looks a little less fragile than some of the other options on the market. It has a built-in windscreen/cage similar to what you would see on a live handheld microphone. It also comes with a Rycote shockmount and cable to 4-XLR, which is nice.

Some leading companies have recently selected ambisonics as the standard spatial audio format — can you talk a bit about how you use ambisonics for VR?
Yeah, I think this is a great decision. I like the “future proof” nature of the ambisonic format. Even in traditional film mixing, I like having the option to export to stereo, 5.1 or 7.1 depending on the project. Until ambisonic becomes more standardized, I like that the Two Big Ears/FB 360 encoder allows you to export to the .tbe B-Format (FuMa or ambiX/YouTube) as well as quad-binaural.

I am a huge fan of the ambisonic format in general. The Pro Sound Effects NYC Ambisonics Library (and now Chicago and Tokyo as well) was my first experience using the format and I was blown away. In a traditional mixing environment it adds another level of depth to the backgrounds. I really look forward to being able to bring it to the VR format as well.


Andrew Emge is operations manager at Pro Sound Effects.

Behind the Title: Director/Designer Ash Thorp

NAME: Ash Thorp (@ashthorp)

COMPANY: ALT Creative, Inc.

CAN YOU DESCRIBE YOUR COMPANY?
ALT Creative is co-owned by my wife Monica and myself. She helps coordinate and handle the company operations, while I manage the creative needs of clients. We work with a select list of outside contractors as needed, mainly depending on the size and scale of the project.

WHAT’S YOUR JOB TITLE?
I fulfill many roles, but if I had to summarize I would say I most commonly am hired for the role of director or designer.

WHAT DOES THAT ENTAIL?
Directing is about facilitating the team to achieve the best outcome on a given project. My ability to communicate with and engage my team toward a visionary goal is my top priority as a director. As a designer, I look at my role as an individual problem solver. My goal is to find the root of what is needed or requested and solve it using design as a mental process of solution.

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
I believe that directing is more about communication and not how well you can design, so many would be surprised by the amount of time and energy needed outside of “creative” tasks, such as emails, critiques, listening, observation and deep analysis.

WHAT’S YOUR FAVORITE PART OF THE JOB?
As a director, I love the freedom to expose the ideas in my mind to others and work closely with them to bring them to life. It’s immensely liberating and rewarding.

WHAT’S YOUR LEAST FAVORITE?
Redundancy often eats up my ambitions. Instructing my vision repeatedly to numerous teammates and partners can be taxing on my subconscious at times.

WHAT IS YOUR FAVORITE TIME OF THE DAY?
The late evening because that is often when I have my mind to myself and am free of outside world distractions and noise.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Nothing. I strongly believe that this is what I was put on earth to do. This is the path I have been designed and focused on since I was a child.

SO YOU KNEW EARLY ON THIS WOULD BE YOUR PATH?
I grew up with a very artistic family; my mother’s side of the family displays creative traits in one media or another. They were and still are all very deeply committed to supporting me in my creative endeavors. Based on my upbringing, it was a natural progression to also be a creative person.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
As for client projects that are publicly released, I most recently worked on the Assassin’s Creed feature film and Call of Duty: Infinite Warfare video game.

For my own projects, I designed and co-directed a concept short for Lost Boy with Anthony Scott Burns. In addition, I released two personal projects: None is a short expression film devised to capture a tone and mood of finding oneself in a city of darkness, and Epoch
is an 11-minute space odyssey that merges my deep love of space and design.

WHAT IS THE PROJECT THAT YOU ARE MOST PROUD OF?
With Epoch being the most recently released project, I have received so many kind and congratulatory correspondences from viewers about how much they love the film. I am very proud of all the hard work and internal thought, development and personal growth it took to build this project with Chris Bjerre. I believe Epoch shows who I truly am, and I consider it one of the best projects of my personal career to date.

WHAT SOFTWARE DID YOU RELY ON FOR EPOCH?
We used a pretty wide spectrum of tools. Our general production tool kit was comprised of Adobe Photoshop for images and stills, texture building and 2D image editing; Adobe Bridge for reviewing frames and keeping a clear vision of the project; Adobe Premiere for editing everything from the beginning animatic to the final film; and, of course, our main staple in 3D was Maxon Cinema 4D, which we used to construct all of the final scenes and render everything using Octane Renderer.

We used Cinema 4D for everything — from building shots for the rough animatic to compiling entire scenes and shots for final render. We used it to animate the planets, moons, orbits, lights and the Vessel. It really is a rock-solid piece of software that I couldn’t imagine trying to build a film like Epoch without it. It allowed us to capture the animations, look, lighting and shots seamlessly from the project’s inception.

WHAT WAS YOUR INSPIRATION FOR THIS WORK?
I am personally inspired by so many things. Epoch was a personal tribute to Stanley Kubrick’s 2001: A Space Odyssey, Alien, Carl Sagan, my love of space and space travel, classical sci-fi art and literature, and my personal love of graphic design all combined into one. We put tremendous effort into Epoch to pay proper homage to these things, yet also invite a new audience to experience something uniquely new. We hope you all enjoyed it!

NAME THREE PIECES OF TECHNOLOGY YOU CAN’T LIVE WITHOUT.
The Internet, computers and physical traveling devices (like cars, planes).

WHAT SOCIAL MEDIA CHANNELS DO YOU FOLLOW?
I try and limit my time spent on social media, but I have two Facebooks, Instagram, Twitter and a Behance account.

DO YOU LISTEN TO MUSIC WHILE YOU WORK?
I frequently listen to music while I work as it helps me fall deep into my mentally focused work state of mind. The type of music varies as some genres work better than others because they trigger different emotions for different tasks. When I am in deep thought, I listen to composers that have no lyrics in their work that may pull away my mind’s focus. When I am doing ordinary tasks or busy work, I listen to anything from heavy metal to drum and bass. The scale of music really varies for me as it’s also often based on my current mood. Music is a big part of my workday and my life.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
I actually let the stress in and let it shape my decision making. I feel if I run away from it or unwind my mind, it takes double the effort to go back in to work. I embrace it as being a part of the high consumption industry in which I have chosen to work. It’s not always ideal and is often very demanding, but I often let it be the spark of the fire of my work.