Why is 3D sound so important in narrative VR? In which part of the process should you start working with sound? How can VR sickness be addressed through clever sound work?
Focusing on my experience with the 360 film "The Goldfish Theory" I'm going to present my experience with using Sound Design in VR story-telling.
I will elaborate on cinematic realism, on the HW and software tools and how to handle VR sickness.
Date and time for this talk at IVRPA Belfast 2019 is TBD.
I'm a sound designer and a VR director who works mostly with 360 video and cinematic content. I specialize in using 3D audio for narrative VR and 360 film, and are doing research into long format 360 films.