There are some other “optional” extras you will need to mix for ambisonics: compressors, limiters, loudness monitors, reverbs, etc, some of which the below systems provide, and some which do not. Different platforms (YouTube, Facebook, Plex, etc) have different requirements for the uploaded files. This will take the audio file that you bounce out of your DAW, and combine it with the move file, inject metadata about the audio tracks and provide a file that is ready to upload. It will often provide a method to audition the output in binaural sound over headphones, before you bounce it out as a multi-track ambisonic file.Įncoder application. This often co-ordinates common action between video player, viewport tracking and everything. Currently the Oculus Quest is the most popular headset at the mo, so I’ll focus on how this can be used.Ī master plug-in. In both situations you’ll hear the sound being played off your DAW change in response to these movements so you can audition what it will sound like to the end user. Additionally, this may also allow you to create a viewport onto the 360 video (where you only see a section of the 360degree film), and can then move your mouse around to move the viewport or in a VR headset and you can move your head around. This lets you load in a 360 video and locate/pan your sounds to objects in the video. It’s typically inserted into each audio channel you want to spatialise.Ī video player. This will take either a mono, stereo or ambisonic sound, and allow you to pan it around in space. Typically they consist of a few components:Ī panner plug-in. If you’re new to these workflows, they can be a bit complex to get your head around.
GOPRO VR PLAYER ALTERNATIVE SOFTWARE
I’ve included the software release versions I’m referencing below so you can check the release history to see if issues have been solved or not.
GOPRO VR PLAYER ALTERNATIVE UPDATE
Be aware, I may not always quickly update this page so software updates may occur which resolve issues on here. This page is intended as a review of the available systems, and looking at some of the bugs and issues with them.
Many of these were developed in the late 2010’s alongside the second wave of VR. There are a number of systems available for mixing sound for use in a 360 film, or other VR-style style environment. I have no affiliation with these products or manufacturers. If you’ve got anything that should usefully be on here, please let me know. Ambisonic audio workflows for 360 films and VR This is a living document, being constantly updated - email me if you think I’ve missed anything out or got something wrong! - last updated 20th May 2022.
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