Issue link: https://digital.copcomm.com/i/757053
C A S Q U A R T E R L Y F A L L 2 0 1 6 55 Above: Conference-goers mingle in the AVAR hallway. Opposite page: Panelists from the "Object-Based Audio Mixing" workshop share their experiences. (Head of Sound, Headspace Studio), and Benedict Green (co-founder, ECCO VR). Benedict started off with a great thought: "Normally, if you can see the camera's lens, it can see you. With VR, if you can see the camera, it can see you." Since cameras are more centrally positioned in VR, there's a significant reduction in where the crew and gear can be located. While there are a number of microphones that can capture audio in the Ambisonics format that are mountable on the camera, a project may wish to capture a sound in a place where you don't want your expensive surround mic to go or where it's not practical to use a surround mic. Due to the potential for casting shadows (and the fact that the boom op would be in the shot), shotguns are out—which leaves the production mixer with lavs and plant mics. Since mixers are unable to follow as the camera moves, depending on the distance, the backup recorder on the transmitter is one way to capture the audio while tying a portable recorder to the talent can also work. Benedict mentioned that he's even used the inexpensive Zoom H2n a couple of times due to its four-channel surround record mode. However, it was suggested that you capture pickups, wild lines, and Foley on set with a shotgun. If you think about the process for a VR shoot record, everything is set up, record is engaged, if there isn't timecode available (depending on cam- era and audio recorder features), a clap will be recorded and then everyone gets out of the shot. It can sometimes take a couple of minutes for everyone to be out of frame. How can you—and the director—monitor what things are sounding like on set? This poses a problem. Benedict has sent an omni plant mic to the director so they have some kind of representation of the sound. Jean Pascal stated that you can use the W channel from the Ambisonics to get an idea of what is being captured (the W channel is similar to what an omni would capture). He went on to