3D binaural allowed us to put people in places and keep them separate. Each of the four seasons have their own sound, and it was important to communicate which season we were in without relying on dialogue. NR: In Season Isle, it’s really important to communicate location. I asked Nat and John to talk about "Season Isle,” a unique podcast for Pinna that takes advantage of 3D audio: In TV and movies, the dialogue is generally the most important part of the sound because you know the picture can do much of the heavy lifting in other storytelling areas. The sound is the only thing that's telling the story. JB: In a podcast, you know you’re going it alone with audio, so you approach cutting and storytelling in a way that will work completely on its own. There’s that old joke that TV without picture is radio, but TV without sound is broken. You can make a pretty good story with standard stereo, but if you want it to be great, you’ll want to use binaural/3D audio. NR: 3D audio tools help us to compensate for all the information you’re not getting when there’s nothing to look at. How does audio-only differ from audio with picture? Once a new language was developed, things started making sense. Along the way, they found ways to show things they were having trouble with. When reality TV was starting out, they hadn’t developed their visual language, so it was hard to watch. JB: We’re in an experimental phase – anything goes right now – which is extremely exciting. When it seems more realistic, you feel more invested in what the characters are feeling. JB: Virtual reality increases your empathy with the story being told the same is true with 3D audio in an audio-only program. These are more than fancy tools to play with - in an audio only experience, it’s critical to have these tools to make the story compelling. if two people are talking in a gym, you see them there and your mind expects you to hear them there. So now that we’re all on the same page.why use binaural? You can move it in 3D space and manipulate the spatial quality. You can take a normal mono recording and place it anywhere around someone’s head. If the actor is standing in a slightly different spot, the sound will jump around your head in an unpleasant way.” – NRĭOLBY: With synthetic/binaural software, everything can be done in post-production. “You need to choreograph the scene around the head which takes a tremendous amount of pre-production.” – JB “If you’re recording with a dummy head, you can’t do pick-ups. Way to go, technology! As Nat pointed out, both methods have strengths and weaknesses:ĭUMMY: When recording with a dummy head, you have to position your actors precisely where you want them in 3D space, and once recorded, you can’t change that in post. With Dolby Atmos, engineers can use a software model of the HRTF in post, which creates the difference of what the right and left ear hear based on what’s between them. HRTF, Head Related Transfer Function, considers how your head affects sound when it arrives at your ears. This list does not include Japanese, Chinese, or Korean series, as children's animation is much more common in these regions.NR: When we hear something, we hear it with two ears but the shape of your face and mask of your head creates a filter. This is a list of children's animated television series (including internet television series) that is, animated programs originally targeted towards audiences aged 12 and under in mind.
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