On recording sound for Lionhearted - a VR documentary: Check out the field report of Marcus Fass the sound engineer on recording 360° sound. Looking back on our shoot in Athens during September 2016, I still remember the challenges that where brought upon us and how I prepared the audio setup to compensate for the new situation with a 360 camera. A 360-degree shot makes the use of a regular boom impossible, especially for a documentary, where the action often happens in unpredicted ways. Often I couldn’t tell where the main focus would be in post production. As a result I needed to be able to record sound coming from all directions. At the same time I had to record with a channel format that would allow interactive panning and listening back to the sound, depending on the users head-movement and viewing-angle, later on. My setup still had to be completely battery-powered and light enough, for me to be able to carry it around a whole day. Once I figured out the workflow, and knew how to combine my lav-mics with my main-mic, it was a matter of anticipating the upcoming scene as best as I could, carefully setting levels, pressing record, quickly hiding out of the shot and listening back. This was quite an interesting and refreshing change compared to “regular“ documentary-work. Depending on the location, the occasional backup shotgun-mic to a second recorder came in very handy. Fortunately, our crew was very focused and in most cases we had more than enough time to setup and get a feeling for our surroundings. Some of the most fun situations, however, were those when we did a guerilla-style-shot and had to set up as fast as you could, hit record, run, and hope that video and sound would be recorded in the way you anticipated. Sometimes you only got one chance to get it right. For further information check out this blog post on spartial audio by Robert Hernandez! Marcus Fass, April 2017
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