Category: Collaboration

Final mixing session. A few more sounds came up. Flipping a book, sonic clues for the interactive objects in the room. Painting Sonic Clue: water dripping recording ran through some echoes and reverb; cavey quality; Music Box Sonic Clue: gear turning sound, recorded with a dpa microphone; Computer Sonic Clue: a combination of a synthesized… Continue reading Mixing Session 2

The project was not in the stage we planned for it to be by this time. The sounds were only roughly placed by Rosa in the project. It was our first time hearing it as well. There was a lot of clipping happening, especially in the painting scene. The feedback we got was: Cinematic, sits… Continue reading Final Crits

We had our first mixing session on Thursday, May 25th. Although we had all intentions to finish on that day, few issues arose. We therefore will be having a second and hopefully last meeting today. Having to work on a single laptop is probably the most challenging part (Rosa’s laptop as it’s the only one… Continue reading Mixing Session 1

We decided to change the plan for the introduction. As previously mentioned, one of the suggestions given to us during the last crit session was including a brief introduction to make the aim clearer to the player. Instead of having a separate scene, we are going to place a cat in the main hub. The… Continue reading Introduction Cat

Some of the sounds I made for this collaboration. Whale Sound The sound was made with a combination of Ableton’s Operator (sinewave) and Native Instruments Micro Prism. Both of these were played and pitch bent, and later layered and ran through reverb. The intention was for the music to stop playing once the right melodic… Continue reading Whale and bone bells

Keiichi Matsuda’s – Hyper-Reality Augmented Reality experience on media saturation. Plays with physicality/virtuality. Final Stage – Showdown At The Lake House |Real-time performance| Studio Visit: Stages One, Two, Three, & Final” is a semi-satirical walk through the Rolfes virtual performance methodology; a fake Let’s Play that pulls apart the motion capture, VR puppetry, and dramaturgy… Continue reading Serra’s Examples

In this chapter of Sounding New Media, Dyson discusses themes of embodiment and immersion through the work of Char Davies. First statement being made is that interactivity is not necessarily a requirement for immersion. He uses Osmosis and Ephemeral as examples of static, still experiences, that explore a state of being and becoming. bio-feedback VR… Continue reading Immersion

Quite a bit of progress was made by the second crits session. By this time we had a good idea of what the visuals are (except for the computer room). We had the musical parts and the bone interaction. The foley sounds were still to be implemented in VR which left the bedroom scene soundless.… Continue reading 2nd Crits

How is Interacting with Sound Different than Listening to Sound? Collins K. ‘most sound effects…fall midway [between music and noise]: like ‘sound-centaurs’, they are half language, half music.’ – Walter Murch 2005 Collins proposes that in the case of video games, the three modes of listening defined by Michel Chion are not sufficient. Three additional… Continue reading Interactivity

In an effort to find ways of working collaboratively we booked a foley session before the spring holidays. This would give us plenty of material to play with over the holiday and hopefully cover most of the sound effects we might need. Using a shotgun microphone, we focused on collision sounds, wood on wood, metal,… Continue reading Collective Foley Session