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abstract
While established mediums such as film have clearly defined conventions for production, interactive simulation requires a whole new approach for the production process that addresses the specific needs and requirements of nonlinear, immersive experiences. This paper describes an audio production pipeline for what is possibly the most complex and demanding of interactive simulations, Mixed Reality (MR). MR simulations can cover the full spectrum of experience from real, to augmented, to virtual. This unique challenge requires a new perspective on methods of capturing, synthesizing, mixing and mastering, designing and integrating, and delivering soundscapes. The approach described here has been developed with the Media Convergence Laboratory’s (MCL) MR Testbed and during the creation of over 9 separate MR experiences including three phases of the military training scenario, Mixed Reality Military Operations in Urban Terrain (MR MOUT), demonstrations at SIGGRAPH, IITSEC, and IAAPA, and an installation at the Orlando Science Center. An overview is provided of production tools and techniques used for designing sounds for MR and interactive experiences in general. Intentionally omitted from discussion here is the topic of pre-production and planning which is a subject for another paper in and of itself.
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publications
- D. E. Hughes, "Defining an Audio Pipeline for Mixed Reality," Proceedings of Human Computer Interfaces International 2005 (HCII’05), Las Vegas, July 23-27, 2005.
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