Leveraging immersive audio production techniques to enhance cultural and historical understandings in a museum setting
Duchêne, Frank (2022)
2022
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Julkaisun pysyvä osoite on
https://urn.fi/URN:NBN:fi:amk-2022120225954
https://urn.fi/URN:NBN:fi:amk-2022120225954
Tiivistelmä
This thesis investigated how audio post-production techniques that have been proven successful for film and TV can be applied to producing VR and AR experiences that use immersive audio to support cultural and historical understandings and promote cultural heritage in a museum setting.
The immersive sound design of two interactive installations at the Royal Museum of Fine Arts in Antwerp, for which the author was responsible, provided the opportunity to explore how traditional audio post-production techniques, commonly used for linear audio-visual storytelling, differ when applied in these scenarios. Furthermore, research was done to map the workflows that allow producing immersive sound without initial access to the VR-playback device and access to the premises and installations of a location-based AR experience.
Applying two workflows for one VR and one AR experience in the Royal Museum of Fine Arts in Antwerp shows that a sound designer can use the more traditional workflows as a basis to create emerging media content. Still, additional productional steps and strategies are necessary to evaluate and optimize the final result. For creating immersive audio content, this research confirms that Ambisonics for VR and channel-based audio for a location-based AR experience are valid choices, even without initial access to the VR-playback device or the possibility of testing the AR installation of a location-based experience. However, in obtaining successful implementation of an AR experience, the environmental conditions play a significant role and should be considered during off-site production.
The immersive sound design of two interactive installations at the Royal Museum of Fine Arts in Antwerp, for which the author was responsible, provided the opportunity to explore how traditional audio post-production techniques, commonly used for linear audio-visual storytelling, differ when applied in these scenarios. Furthermore, research was done to map the workflows that allow producing immersive sound without initial access to the VR-playback device and access to the premises and installations of a location-based AR experience.
Applying two workflows for one VR and one AR experience in the Royal Museum of Fine Arts in Antwerp shows that a sound designer can use the more traditional workflows as a basis to create emerging media content. Still, additional productional steps and strategies are necessary to evaluate and optimize the final result. For creating immersive audio content, this research confirms that Ambisonics for VR and channel-based audio for a location-based AR experience are valid choices, even without initial access to the VR-playback device or the possibility of testing the AR installation of a location-based experience. However, in obtaining successful implementation of an AR experience, the environmental conditions play a significant role and should be considered during off-site production.