Tag Archives: virtual reality

SGO’s Mistika VR is now available

 

SGO’s Mistika VR software app is now available. This solution has been developed using the company’s established Mistika technology and offers advanced realtime stitching capabilities combined with a new intuitive interface and raw format support with incredible speed.

Using Mistika Optical Flow Technology (our main image), the new VR solution takes camera position information and sequences then stitches the images together using extensive and intelligent pre-sets. Its unique stitching algorithms help with the many challenges facing post teams to allow for the highest image quality.

Mistika VR was developed to encompass and work with as many existing VR camera formats as possible, and SGO is creating custom pre-sets for productions where teams are building the rigs themselves.

The Mistika VR solution is part of SGO’s new natively integrated workflow concept. SGO has been dissecting its current turnkey offering “Mistika Ultima” to develop advanced workflow applications aimed at specific tasks.

Mistika VR runs on Mac, and Windows and is available as a personal or professional (with SGO customer support) edition license. Costs for licenses are:

–  30-day license (with no automatic renewals): Evaluation Version is free; Personal Edition: $78; Professional Edition $110

– Monthly subscription: Personal Edition $55; Professional Edition $78 per month

–  Annual subscription: Personal Edition: $556 per year; Professional Edition: $779 per year

VR audio terms: Gaze Activation v. Focus

By Claudio Santos

Virtual reality brings a lot of new terminology to the post process, and we’re all having a hard time agreeing on the meaning of everything. It’s tricky because clients and technicians sometimes have different understandings of the same term, which is a guaranteed recipe for headaches in post.

Two terms that I’ve seen being confused a few times in the spatial audio realm are Gaze Activation and Focus. They are both similar enough to be put in the same category, but at the same time different enough that most of the times you have to choose completely different tools and distribution platforms depending on which technology you want to use.

Field of view

Focus
Focus is what the Facebook Spatial Workstation calls this technology, but it is a tricky one to name. As you may know, ambisonics represents a full sphere of audio around the listener. Players like YouTube and Facebook (which uses ambisonics inside its own proprietary .tbe format) can dynamically rotate this sphere so the relative positions of the audio elements are accurate to the direction the audience is looking at. But the sounds don’t change noticeably in level depending on where you are looking.

If we take a step back and think about “surround sound” in the real world, it actually makes perfect sense. A hair clipper isn’t particularly louder when it’s in front of our eyes as opposed to when its trimming the back of our head. Nor can we ignore the annoying person who is loudly talking on their phone on the bus by simply looking away.

But for narrative construction, it can be very effective to emphasize what your audience is looking at. That opens up possibilities, such as presenting the viewer with simultaneous yet completely unrelated situations and letting them choose which one to pay attention to simply by looking in the direction of the chosen event. Keep in mind that in this case, all events are happening simultaneously and will carry on even if the viewer never looks at them.

This technology is not currently supported by YouTube, but it is possible in the Facebook Spatial Workstation with the use of high Focus Values.

Gaze Activation
When we talk about focus, the key thing to keep in mind is that all the events happen regardless of the viewer looking at them or not. If instead you want a certain sound to only happen when the viewer looks at a certain prop, regardless of the time, then you are looking for Gaze Activation.

This concept is much more akin to game audio then to film sound because of the interactivity element it presents. Essentially, you are using the direction of the gaze and potentially the length of the gaze (if you want your viewer to look in a direction for x amount of seconds before something happens) as a trigger for a sound/video playback.

This is very useful if you want to make impossible for your audience to miss something because they were looking in the “wrong” direction. Think of a jump scare in a horror experience. It’s not very scary if you’re looking in the opposite direction, is it?

This is currently only supported if you build your experience in a game engine or as an independent app with tools such as InstaVR.

Both concepts are very closely related and I expect many implementations will make use of both. We should all keep an eye on the VR content distribution platforms to see how these tools will be supported and make the best use of them in order to make 360 videos even more immersive.


Claudio Santos is a sound editor and spatial audio mixer at Silver Sound. Slightly too interested in technology and workflow hacks, he spends most of his waking hours tweaking, fiddling and tinkering away on his computer.

VR Workflows: The Studio | B&H panel during NAB

At this year’s NAB Show in Las Vegas, The Studio B&H hosted a series of panels at their booth. One of those panels addressed workflows for virtual reality, including shooting, posting, best practices, hiccups and trends.

The panel, moderated by postPerspective editor-in-chief Randi Altman, was made up of SuperSphere’s Lucas Wilson, ReDesign’s Greg Ciaccio, Local Hero Post’s Steve Bannerman and Jaunt’s Koji Gardner.

While the panel was streamed live, it also lives on YouTube. Enjoy…

New AMD Radeon Pro Duo graphics card for pro workflows

AMD was at NAB this year with its dual-GPU graphics card designed for pros — the Polaris-architecture-based Radeon Pro Duo. Built on the capabilities of the Radeon Pro WX 7100, the Radeon Pro Duo graphics card is designed for media and entertainment, broadcast and design workflows.

The Radeon Pro Duo is equipped with 32GB of ultra-fast GDDR5 memory to handle larger data sets, more intricate 3D models, higher-resolution videos and complex assemblies. Operating at a max power of 250W, the Radeon Pro Duo uses a total of 72 compute units (4,608 stream processors) for a combined performance of up to 11.45 TFLOPS of single-precision compute performance on one board, and twice the geometry throughput of the Radeon Pro WX 7100.

The Radeon Pro Duo enables pros to work on up to four 4K monitors at 60Hz, drive the latest 8K single monitor display at 30Hz using a single cable or drive an 8K display at 60Hz using a dual cable solution.

The Radeon Pro Duo’s distinct dual-GPU design allows pros the flexibility to divide their workloads, enabling smooth multi-tasking between applications by committing GPU resources to each. This will allow users to focus on their creativity and get more done faster, allowing for a greater number of design iterations in the same time.

On select pro apps (including DaVinci Resolve, Nuke/Care VR, Blender Cycles and VRed), the Radeon Pro Duo offers up to two times faster performance compared with the Radeon Pro WX 7100.

For those working in VR, the Radeon Pro Duo graphics card uses the power of two GPUs to render out separate images for each eye, increasing VR performance over single GPU solutions by up to 50% in the SteamVR test. AMD’s LiquidVR technologies are also supported by the industry’s leading realtime engines, including Unity and Unreal, to help ensure smooth, comfortable and responsive VR experiences on Radeon Pro Duo.

The Radeon Pro Duo’s planned availability is the end of May at an expected price of US $999.

Hobo’s Howard Bowler and Jon Mackey on embracing full-service VR

By Randi Altman

New York-based audio post house Hobo, which offers sound design, original music composition and audio mixing, recently embraced virtual reality by launching a 360 VR division. Wanting to offer clients a full-service solution, they partnered with New York production/post production studios East Coast Digital and Hidden Content, allowing them to provide concepting through production, post, music and final audio mix in an immersive 360 format.

The studio is already working on some VR projects, using their “object-oriented audio mix” skills to enhance the 360 viewing experience.

We touched base with Hobo’s founder/president, Howard Bowler, and post production producer Jon Mackey to get more info on their foray into VR.

Why was now the right time to embrace 360 VR?
Bowler: We saw the opportunity stemming from the advancement of the technology not only in the headsets but also in the tools necessary to mix and sound design in a 360-degree environment. The great thing about VR is that we have many innovative companies trying to establish what the workflow norm will be in the years to come. We want to be on the cusp of those discoveries to test and deploy these tools as the ecosystem of VR expands.

As an audio shop you could have just offered audio-for-VR services only, but instead aligned with two other companies to provide a full-service experience. Why was that important?
Bowler: This partnership provides our clients with added security when venturing out into VR production. Since the medium is relatively new in the advertising and film world, partnering with experienced production companies gives us the opportunity to better understand the nuances of filming in VR.

How does that relationship work? Will you be collaborating remotely? Same location?
Bowler: Thankfully, we are all based in West Midtown, so the collaboration will be seamless.

Can you talk a bit about object-based audio mixing and its challenges?
Mackey: The challenge of object-based mixing is not only mixing based in a 360-degree environment or converting traditional audio into something that moves with the viewer but determining which objects will lead the viewer, with its sound cue, into another part of the environment.

Bowler: It’s the creative challenge that inspires us in our sound design. With traditional 2D film, the editor controls what you see with their cuts. With VR, the partnership between sight and sound becomes much more important.

Howard Bowler pictured embracing VR.

How different is your workflow — traditional broadcast or spot work versus VR/360?
Mackey: The VR/360 workflow isn’t much different than traditional spot work. It’s the testing and review that is a game changer. Things generally can’t be reviewed live unless you have a custom rig that runs its own headset. It’s a lot of trial and error in checking the mixes, sound design, and spacial mixes. You also have to take into account the extra time and instruction for your clients to review a project.

What has surprised you the most about working in this new realm?
Bowler: The great thing about the VR/360 space is the amount of opportunity there is. What surprised us the most is the passion of all the companies that are venturing into this area. It’s different than talking about conventional film or advertising; there’s a new spark and its fueling the rise of the industry and allowing larger companies to connect with smaller ones to create an atmosphere where passion is the only thing that counts.

What tools are you using for this type of work?
Mackey: The audio tools we use are the ones that best fit into our Avid ProTools workflow. This includes plug-ins from G-Audio and others that we are experimenting with.

Can you talk about some recent projects?
Bowler: We’ve completed projects for Samsung with East Coast Digital, and there are more on the way.

Main Image: Howard Bowler and Jon Mackey

The importance of audio in VR

By Anne Jimkes

While some might not be aware, sound is 50 percent of the experience in VR, as well as in film, television and games. Because we can’t physically see the audio, it might not get as much attention as the visual side of the medium. But the balance and collaboration between visual and aural is what creates the most effective, immersive and successful experience.

More specifically, sound in VR can be used to ease people into the experience, what we also call “on boarding.” It can be used subtly and subconsciously to guide viewers by motivating them to look in a specific direction of the virtual world, which completely surrounds them.

In every production process, it is important to discuss how sound can be used to benefit the storytelling and the overall experience of the final project. In VR, especially the many low-budget independent projects, it is crucial to keep the importance and use of audio in mind from the start to save time and money in the end. Oftentimes, there are no real opportunities or means to record ADR after a live-action VR shoot, so it is important to give the production mixer ample opportunity to capture the best production sound possible.

Anne Jimkes at work.

This involves capturing wild lines, making sure there is time to plant and check the mics, and recording room tone. Things that are already required, albeit not always granted, on regular shoots, but even more important on a set where a boom operator cannot be used due to the 360 degree view of the camera. The post process is also very similar to that for TV or film up to the point of actual spatialization. We come across similar issues of having to clean up dialogue and fill in the world through sound. What producers must be aware of, however, is that after all the necessary elements of the soundtrack have been prepared, we have to manually and meticulously place and move around all the “audio objects” and various audio sources throughout the space. Whenever people decide to re-orient the video — meaning when they change what is considered the initial point of facing forward or “north” — we have to rewrite all this information that established the location and movement of the sound, which takes time.

Capturing Audio for VR
To capture audio for virtual reality we have learned a lot about planting and hiding mics as efficiently as possible. Unlike regular productions, it is not possible to use a boom mic, which tends to be the primary and most naturally sounding microphone. Aside from the more common lavalier mics, we also use ambisonic mics, which capture a full sphere of audio and matches the 360 picture — if the mic is placed correctly on axis with the camera. Most of the time we work with Sennheiser and use their Ambeo microphone to capture 360 audio on set, after which we add the rest of the spatialized audio during post production. Playing back the spatialized audio has become easier lately, because more and more platforms and VR apps accept some form of 360 audio playback. There is still a difference between the file formats to which we can encode our audio outputs, meaning that some are more precise and others are a little more blurry regarding spatialization. With VR, there is not yet a standard for deliverables and specs, unlike the film/television workflow.

What matters most in the end is that people are aware of how the creative use of sound can enhance their experience, and how important it is to spend time on capturing good dialogue on set.


Anne Jimkes is a composer, sound designer, scholar and visual artist from the Netherlands. Her work includes VR sound design at EccoVR and work with the IMAX VR Centre. With a Master’s Degree from Chapman University, Jimkes previously served as a sound intern for the Academy of Television Arts & Sciences.

Assimilate’s Scratch VR Suite 8.6 now available

Back in February, Assimilate announced the beta version of its Scratch VR Suite 8.6. Well, now the company is back with a final version of the product, including user requests for features and functions.

Scratch VR Suite 8.6 is a realtime post solution and workflow for VR/360 content. With added GPU stitching of 360-video and ambisonic audio support, as well as live streaming, the Scratch VR Suite 8.6 allows VR content creators — DPs, DITs, post artists — a streamlined, end-to-end workflow for VR/360 content.

The Scratch VR Suite 8.6 workflow automatically includes all the basic post tools: dailies, color grading, compositing, playback, cloud-based reviews, finishing and mastering.

New features and updates include:
– 360 stitching functionality: Load the source media of multiple shots from your 360 cameras. into Scratch VR and easily wrap them into a stitch node to combine the sources into a equirectangular image.
• Support for various stitch template format, such as AutoPano, Hugin, PTGui and PTStitch scripts.
• Either render out the equirectangular format first or just continue to edit, grade and composite on top of the stitched nodes and render the final result.
• Ambisonic audio: Load, set and playback ambisonic audio files to complete the 360 immersive experience.
• Video with 360 sound can be published directly to YouTube 360.
• Additional overlay handles to the existing. 2D-equirectangular feature for more easily positioning. 2D elements in a 360 scene.
• Support for Oculus Rift, Samsung Gear VR, HTC Vive and Google Cardboard.
• Several new features and functions make working in HDR just as easy as SDR.
• Increased Format Support – Added support for all the latest formats for even greater efficiency in the DIT and post production processes.
• More Simplified DIT reporting function – Added features and functions enables even greater efficiencies in a single, streamlined workflow.
• User Interface: Numerous updates have been made to enhance and simplify the UI for content creators, such as for the log-in screen, matrix layout, swipe sensitivity, Player stack, tool bar and tool tips.

Lenovo intros VR-ready ThinkStation P320

Lenovo launched its VR-ready ThinkStation P320 at Develop3D Live, a UK-based conference that puts special focus on virtual reality as a productivity tool in design workflows. The ThinkStation P320 is the latest addition to the Lenovo portfolio of VR-ready certified workstations and is designed for power users looking to balance both performance and their budgets.

The workstation’s pro VR certification allows ThinkStation P320 users an to more easily add virtual reality into their workflow without requiring an initial high-end hardware and software investment.

The refreshed workstation will be available in both full-size tower and small form factor (SFF) and comes equipped with Intel’s newest Xeon processors and Core i7 processors — offering speeds of up to 4.5GHz with Turbo Boost (on the tower). Both form factors will also support the latest Nvidia Quadro graphics cards, including support for dual Nvidia Quadro P1000 GPUs in the small form factor.

The ISV-certified ThinkStation P320 supports up to 64GB of DDR4 memory and customization via the Flex Module. In terms of environmental sustainability, the P320 is Energy Star-qualified, as well as EPEAT Gold and Greenguard-certified.

The Lenovo ThinkStation P320 full-size tower and SFF will be available at the end of April.

Timecode’s new firmware paves the way for VR

Timecode Systems, which makes wireless technologies for sharing timecode and metadata, has launched a firmware upgrade that enhances the accuracy of its wireless genlock.

Promising sub-line-accurate synchronization, the system allows Timecode Systems products to stay locked in sync more accurately, setting the scene for development of a wireless sensor sync solution able to meet the requirements of VR/AR and motion capture.

“The industry benchmark for synchronization has always been ‘frame-accurate’, but as we started exploring the absolutely mission-critical sync requirements of virtual reality, augmented reality and motion capture, we realized sync had to be even tighter,” said Ashok Savdharia, chief technical officer at Timecode Systems. “With the new firmware and FPGA algorithms released in our latest update, we’ve created a system offering wireless genlock to sub-line accuracy. We now have a solid foundation on which to build a robust and immensely accurate genlock, HSYNC and VSYNC solution that will meet the demands of VR and motion capture.”

A veteran in camera and image sensor technology, Savdharia joined Timecode Systems last year. In addition to building up the company’s multi-camera range of solutions, he is leading a development team to pioneering a wireless sync system for the VR and motion capture market.

HPA Tech Retreat takes on realities of virtual reality

By Tom Coughlin

The HPA Tech Retreat, run by the Hollywood Professional Association in association with SMPTE, began with an insightful one-day VR seminar— Integrating Virtual Reality/Augmented Reality into Entertainment Applications. Lucas Wilson from SuperSphere kicked off the sessions and helped with much of the organization of the seminar.

The seminar addressed virtual reality (VR), augmented reality (AR) and mixed reality (MR, a subset of AR where the real world and the digital world interact, like Pokeman Go). As in traditional planar video, 360-degree video still requires a director to tell a story and direct the eye to see what is meant to be seen. Successful VR requires understanding how people look at things, how they perceive reality, and using that understanding to help tell a story. Some things that may help with this are reinforcement of the viewer’s gaze with color and sound that may vary with the viewer — e.g. these may be different for the “good guy” and the “bad guy.”

VR workflows are quite different from traditional ones, with many elements changing with multiple-camera content. For instance, it is much more difficult to keep a camera crew out of the image, and providing proper illumination for all the cameras can be a challenge. The image below from Jaunt shows their 360-degree workflow, including the use of their cloud-based computational image service to stitch the images from the multiple cameras.
Snapchat is the biggest MR application, said Wilson. Snapchat’s Snapchat-stories could be the basis of future post tools.

Because stand-alone headsets (head-mounted displays, or HMDs) are expensive, most users of VR rely on smart phone-based displays. There are also some places that allow one or more people to experience VR, such as the IMAX center in Los Angeles. Activities such as VR viewing will be one of the big drivers for higher-resolution mobile device displays.

Tools that allow artists and directors to get fast feedback on their shots are still in development. But progress is being made, and today over 50 percent of VR is used for video viewing rather than games. Participants in a VR/AR market session, moderated by the Hollywood Reporter’s Carolyn Giardina and including Marcie Jastrow, David Moretti, Catherine Day and Phil Lelyveld, seemed to agree that the biggest immediate opportunity is probably with AR.

Koji Gardiner from Jaunt gave a great talk on their approach to VR. He discussed the various ways that 360-degree video can be captured and the processing required to create finished stitched video. For an array of cameras with some separation between the cameras (no common axis point for the imaging cameras), there will be area that needs to be stitched together between camera images using common reference points between the different camera images as well as blind spots near to the cameras where they are not capturing images.

If there is a single axis for all of the cameras then there are effectively no blind spots and no stitching possible as shown in the image below. Covering all the space to get a 360-degree video requires additional cameras located on that axis to cover all the space.

The Fraunhofer Institute, in Germany, has been showing a 360-degree video camera with an effective single axis for several cameras for several years, as shown below. They do this using mirrors to reflect images to the individual cameras.

As the number of cameras is increased, the mathematical work to stitch the 360-degree images together is reduced.

Stitching
There are two approaches commonly used in VR stitching of multiple camera videos. The easiest to implement is a geometric approach that uses known geometries and distances to objects. It requires limited computational resources but results in unavoidable ghosting artifacts at seams from the separate images.

The Optical Flow approach synthesizes every pixel by computing correspondences between neighboring cameras. This approach eliminates the ghosting artifacts at the seams but has its own more subtle artifacts and requires significantly more processing capability. The Optical Flow approach requires computational capabilities far beyond those normally available to content creators. This has led to a growing market to upload multi-camera video streams to cloud services that process the stitching to create finished 360-degree videos.

Files from the Jaunt One camera system are first downloaded and organized on a laptop computer and then uploaded to Jaunt’s cloud server to be processed and create the stitching to make a 360 video. Omni-directionally captured audio can also be uploaded and mixed ambisonically, resulting in advanced directionality in the audio tied to the VR video experience.

Google and Facebook also have cloud-based resources for computational photography used for this sort of image stitching.

The Jaunt One 360-degree camera has a 1-inch 20MP rolling shutter sensor with frame rates up to 60fps with 3200 ISO max, 29dB SNR at ISO800. It has a 10 stops per camera module, with 130-degree diagonal FOV, 4/2.9 optics and with up to 16K resolution (8K per eye). Jaunt One at 60fps provides 200GB/minute uncompressed. This can fill a 1TB SSD in five minutes. They are forced to use compression to be able to use currently affordable storage devices. This compression creates 11GB per minute, which can fill a 1TB SSD in 90 minutes.

The actual stitched image, laid out flat, looks like a distorted projection. But when viewed in a stereoscopic viewer it appears to look like a natural image of the world around the viewer, giving an immersive experience. At one point in time the viewer does not see all of the image but only the image in a restricted space that they are looking directly at as shown in the red box in the figure below.

The full 360-degree image can be pretty high resolution, but unless the resolution is high enough, the resolution inside the scene being viewed at any point in time will be much less that the resolution of the overall scene, unless special steps are taken.

The image below shows that for a 4k 360-degree video the resolution in the field of view (FOV) may be only 1K, much less resolution and quite perceptible to the human eye.

In order to provide a better viewing experience in the FOV, either the resolution of the entire view must be better (e.g. the Jaunt One high-resolution version has 8K per eye and thus 16K total displayed resolution) or there must be a way to increase the resolution in the most significant FOV in a video, so at least in that FOV, the resolution leads to a greater feeling of reality.

Virtual reality, augmented reality and mixed reality create new ways of interacting with the world around us and will drive consumer technologies and the need for 360-degree video. New tools and stitching software, much of this cloud-based, will enable these workflows for folks who want to participate in this revolution in content. The role of a director is as important as ever as new methods are needed to tell stories and guide the viewer to engage in this story.

2017 Creative Storage Conference
You can learn more about the growth in VR content in professional video and how this will drive new digital storage demand and technologies to support the high data rates needed for captured content and cloud-based VR services at the 2017 Creative Storage Conference — taking place May 24, 2017 in Culver City.


Thomas M. Coughlin of Coughlin Associates is a storage analyst and consultant. He has over 30 years in the data storage industry and is the author of Digital Storage in Consumer Electronics: The Essential Guide.