Issue link: http://digital.copcomm.com/i/1316380
"It is insane, it is absolutely mind- boggling that you really feel like you're in the room and you're hearing the speaker 30 or 40 feet away from you or above you or around you." He and his team have been using the 360 VME system going back-and-forth between editorial and temp dubs. Citing the ability to hear the mix in its existing context while cutting in additional effects, Asgar claims, "more and more people are going to want to use this because it saves them time and they are able to cut better fitting sounds," particularly when going back-and-forth to the stage. Will Files CAS, the award-winning supervising sound editor on Ghostbusters: Afterlife, echoed Asgar's enthusiasm. "We've had to put this into real-world work in a serious way, so we've got multiple crews working on Sony movies using this technology. It's allowed us to all be working in the same virtual room together, so we all have the same kind of reference standard, which is crucial for passing work around. Especially as these are movies that have been temp dubbed multiple times. So, as you're adding sounds to the track, you want to make sure it's going to be in the ballpark of where the mix is. So, it's super helpful to have a mix environment in your home that you can trust." Sony one-upped their announcement by also demonstrating a prototype of new, open-backed headphones designed specifically to complement the 360 VME system. Files touts their lightweight build and robust drivers to both be able to drive an immersive cinematic experience while also being comfortable enough to wear all day. "The low end sounds punchier than on other standard 'phones,'" says Files. Steven Ticknor shared his experience using the technology package to complete work on the short film Blink, by Spencer Coen. The localization of the headphone Sony 360 VME interface screenshot