![]() Besides the ambisonics we also record every character ISO with wireless lavs so that we have as much control as possible over the dialogue during post production. ![]() We set up our rig wirelessly so it can be untethered from cables, which are a big problem in a VR shoot where you can see in every direction. With time we imagine producers and post production houses will naturally specialize in whichever genre fits them best, but for us at least this is something we are not hurrying to do.įor recording we make use of a variety of ambisonic microphones that allow us to record true 360 sound on location. The industry as a whole is still learning what kind of content works best in VR and every project is a chance to try a new facet of the technology. Right now we want to work on every kind of project. What types of VR projects do you expect to be working on? We have been making small in-house shoots, so we are familiar with the logistics and technologies involved in a VR production and are more than happy to assist our clients with the knowledge we have gained. We primarily work with sound recording and post production audio for VR projects, but we can also produce VR projects that are brought to us by creators. It really all comes down to being passionate about sound and wanting to be part of this exciting moment in which the standards and rules are yet to be discovered. So as soon as 360 videos started appearing in different platforms, we found ourselves individually researching and testing how sound could be used in the medium. We just love to try different things and to be part of different projects. The truth is we are all a bunch of curious tinkerers. Why did you open a VR division? Is it an audio-for-VR entity or are you guys shooting VR as well? I reached out to Silver Sound sound editor/re-recording mixer Claudio Santos to find out why now was the time to invest in VR. ![]() Stories From The Network: 360° Race Car Experience for AT&T Jesse Averna tweets from a personal account and in no way speaks for or represents the companies he works for. Nail the tech down and keep building the artist. Be happy when someone else is doing well. – If you’re making a living in post production, if you’re paying your bills making art, if your editing feeds your kids, you are lucky. If you’re a pain, you’d better be damn good. – It’s 40% being good and 60% being someone people want to work with. – You might have to climb down a ladder and start at the bottom of another to work on something you love. – Commiserating can be bonding, but it can also be poison. Ignoring the tech? You’re probably not telling the story as well as you could. – Focused on the tech? You’re probably missing the story. Doesn’t matter what software you’re using. – If someone needs advice, a connection or a gig, give them a hand. ![]() – If you always focus on your insecurities and shortcomings, so will everyone else. Ask yourself what you would do differently and why they didn’t. – Disliking movies doesn’t make you a more competent filmmaker. If you commit to a project, give it 110%. It just might leave you feeling a bit better about your job, your industry and yourself. Many of you might know him as one of the founders of the Twitter group #postchat. In the midst of that, LA-based editor Jesse Averna ( recently shared some positivity and shed some light on how to navigate in the complex world of the post professional by offering some advice and encouragement through a series of tweets.Īverna is an editing veteran who has five Emmy Awards and an additional nomination for his work on Sesame Street. Let’s face it, post production can be hard, and sometimes our social networks can get a tad negative. ![]()
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