Thought I’d drop a brief note for everyone.
I’m currently working at the [email protected] UWA on a new fulldome movie about Dark Matter, with Paul Bourke (WASP), Alan Duffy and Carley Tillett . This’ll be a mixture of live action fulldome video and visualisations of computational astrophysical models – some pretty amazing stuff. Anyway, the point relevant to DomeLab is that we’re shooting some content with the LadyBug 360A? camera and sorting out audio production issues for live action- which are quite challenging for a Dome environment.
This is an aspect I would very much like to draw people’s attention to during the lab, as in my experience, audio is often the most overlooked part of film/video production. Good audio can make even bad video look good (or OK…at least!) – and needs to be given some serious consideration before and during production. This is particularly the case with live action, given that the LadyBug camera doesn’t record an audio stream. Audio must be recorded separately and synched in post – a bit like the old days of Nagras and 16mm. This is particularly an issue for lip synch, so people should be aware of this.
We’re also lucky to have access to a couple of 5.1 surround mix environments: this is a technically sophisticated process that raises all sorts of interesting possibilities for the development of the sonic environment in the dome e 20 tadalifil. – audio, music, foley and its relationship with visual cues. In preparation for the lab attendees might want to consider bringing some audio material (eg. aiff, wav files) on hard drives with them – particularly if they want music for a mix for their particular project. After all there’s often nothing worse than library music – and this will affect the whole mood of your production. Naturally, it is imperative that you have copyright permissions (or waivers) to audio files that you choose to use. Give it some thought.
Look forward to seeing you next week.