Pro Tools for Virtual Reality Asbjoern Andersen


The emergence of virtual reality (VR) means a lot of changes for the way content is created and used. And in this special interview, AVID’s Tony Cariddi shares his insights on what the future holds for creatives using Pro Tools for VR content creation:


Written by Jennifer Walden



New features come with every Pro Tools upgrade, but you always get that one feature that makes you say, “How did I work without this?!” Take Offline Bounce for example. Every Pro Tools user was thanking the audio gurus at AVID for bringing that timesaver into their workflow. I mean really, bouncing stems in real time? Insanity! Now, on the cusp of VR virtually becoming a daily reality, content creators are going to want to work with their favorite audio artists instead of having to choose from the small pool of talent wielding the prototype tools for VR production and post production.

Content creators are going to want to work with their favorite audio artists instead of having to choose from the small pool of talent wielding the prototype tools for VR production and post production.

While many third-party companies have been perfecting their VR workflow solutions, AVID has been busily preparing their Pro Tools platform to be the place where these third-party tools can work together, in an environment that’s comfortable for most audio post pros. We’re all waiting for that Pro Tools upgrade that will make us say, “How did I ever work with VR content without this?!” Tony Cariddi, AVID‘s ‎Director of Product and Solutions Marketing, generously shares some insight into Pro Tools upcoming VR workflow solutions.
 

Audio post pros who are familiar with linear projects, like films or series, may not know what they’re up against in terms of handling post sound on virtual reality projects. Can you explain some of the differences in the Pro Tools workflow for a linear project vs. a VR project?

In the simplest, most fundamental way, in virtual reality you have the viewer interacting with the content rather than just passively watching it or listening to it. Tony Cariddi, AVID‘s ‎Director of Product and Solutions Marketing So that sets up the expectation that the content is going to respond to the interaction in a natural way. For example, when the viewer turns his/her head the expectation is that not only does the picture follow, but the sound is going to follow too. That creates a lot of new challenges.
You are dealing with a lot of new variables. Obviously with the surround and immersive mixes that our customers do today using Dolby Atmos or other multichannel surround formats, they have sounds respond to camera angles and things like that, but in virtual reality it has to be much more fluid. You also have new challenges when dealing with stereo field information, which doesn’t really respond so well with traditional panning in virtual reality. When someone turns his/her head, what do you do with a stereo source? So virtual reality opens up a lot of opportunity for new technology to create natural sounding results, and it also sets up a lot of questions aesthetically, just like surround did.
 

What’s been the biggest challenge so far in designing tools that specifically address VR workflows?

We are looking into support for Ambisonics. We have really strong tools for surround and automation, really advanced tools that give mixers a lot of control over that. Outside of that, as it pertains specifically to virtual reality, most of our efforts at this point are to make sure that our SDKs — our Alliance Partner tools, are strong and exactly what the development community needs in order to integrate their tools into Pro Tools. For almost 30 years we’ve had a very vibrant developer community that has made plug-ins for Pro Tools, and plug-ins for Media Composer.

One of the huge challenges in the industry is that there are so many different tools that it becomes very difficult for the users, whether it’s the facility manager or the actual engineer, to integrate all of these things together

And now more than ever, one of the huge challenges in the industry is that there are so many different tools that it becomes very difficult for the users, whether it’s the facility manager or the actual engineer, to integrate all of these things together. There’s no shortage of companies or individuals that are creating amazing tools to solve these problems. But what they don’t do is make it easy for the user to integrate all of these tools together and make them work together. So a lot of our focus over the past few years has been to develop a really strong platform upon which they can easily integrate these tools. So when a user needs to work on a virtual reality project, we make sure it is super easy to get the plug-in, or get the add-on, and simply start using the professional tools that they’re familiar with, and that it gives them compatibility with the rest of the industry.
 
[tweet_box]What the future holds for Pro Tools and VR:[/tweet_box]

Are there any specific solutions/tools that AVID is developing for Pro Tools to help audio post pros design and mix for VR?

We’ve been working on Dolby Atmos integration and that’s going to be a big boon for anyone working in virtual reality because you can have control over specific objects across a 64-channel speaker matrix. That gives you a lot of flexibility.

We’ve been working on Dolby Atmos integration and that’s going to be a big boon for anyone working in virtual reality

In addition, we’re looking at supporting Ambisonics natively in Pro Tools. We’re also working closely with gaming developers to ensure better workflow across Pro Tools, middleware, and gaming platforms. Otherwise, we are working to make sure that we have a solid platform to support the third-party developer tools, and making sure those can be integrated into Pro Tools.
 

In the future does AVID see themselves developing reverbs or compressors or EQs that are designed specifically for the virtual reality environment?

I think that’s possible but I can’t speculate on what will happen. But, historically we have developed a core set of tools for new formats as they have evolved and became more prevalent. At the same time, we’ve always ensured strong support for the third-party ecosystem, which is usually more agile to produce these tools because they are smaller companies and they can really focus-in on one single thing. So I can’t give a definitive statement about our future development but I think that it is possible that we may develop something like that in the future.

With Pro Tools, we have an extremely mature platform and strong development tools for third-parties. As the challenges of VR workflows become clearer, to us and to the market, we will need to keep our SDK and Alliance Partner tools updated to make sure that they can hook-in in the right way. So we are continuing to evolve that platform to make sure that the development community has everything that they need to create and integrate the best tools possible.


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Are there different workflow requirements for virtual reality projects vs. augmented reality projects?

With augmented reality, you typically think of imagery and graphics overlaying reality. With virtual reality, the entire environment is fabricated. With augmented reality, you have an overlay of interactive production material on top of the real world. It’s usually more of a graphic-based medium compared to virtual reality, which require more sound information. So we have augmented reality tools, such as Orad’s RealSet, which are used in the sports production world — producers can superimpose information on the screen, follow players, put three-dimensional objects in a three-dimensional space on existing footage that you can interact with. So we have a very strong set of tools on that side with RealSet and a handful of other products in that category.
 

When it comes designing, mixing, and print mastering for VR, what solutions will AVID/Pro Tools offer audio post pros that will allow them to make a final mix and then get that back into the VR project?

You can do that today. There was a company called Two Big Ears that was acquired by Facebook in the spring. Their product is called Facebook 360 Spatial Workstation, and it enables users to wear a headset and do the mix within Pro Tools.

It enables users to wear a headset and do the mix within Pro Tools

It handles all the final encoding for you and syncs it back to the final video for you when you are done. So you can do the mix while you’re in that immersive format without having to go back and forth. So that technology is here today and it is only going to get better and better. (For more info, you can check out Facebook 360 Spatial Workstation)
 


Travel to Yosemite National Park in VR, thanks to this National Geograhic presentation, created using the Facebook 360 Spatial Workstation suite

 

For many audio post pros, Pro Tools is their defacto DAW. They’re comfortable designing and mixing on that platform…

People doing this work are typically seasoned professionals and they’re going to want to work in a familiar environment they are comfortable with, so that’s what is great about Pro Tools. You have this immersive VR format and emerging technology, and instead of having to utilize completely new tools in a new workstation you aren’t familiar with and don’t have years of muscle memory to take advantage of, you can work in a way that’s familiar and with the same tools.
 

How does Dolby Atmos for VR differ from the Dolby Atmos tools for linear projects?

The tools they are going to manifest in Pro Tools will be pretty similar. Atmos gives you a lot of flexibility to place objects in very distinct places across a 64-speaker matrix.

If you’re in a small room, or living room, or a giant Dolby-spec theater, those mixes will translate better than they ever have before

That scales really nicely; if you’re in a small room, or living room, or a giant Dolby-spec theater, those mixes will translate better than they ever have before. The basis for this technology will impact VR production just the same.You have a lot of objects to work with and move, so the Dolby tools will translate to that format very nicely.
 

Where would AVID like to be with their sound for VR tools 5 years from now?

We try to stay very close to what our customers are up against, to their challenges as they evolve. That evolution is driven by economic factors, and the health of the industry. Sometimes there are technological breakthroughs that help to advance that. But what we want to do is make sure that we continue to stay close to the customers. We want to make sure that as these relatively new workflows are evolving, that we are seeing where the hang-ups are, where the pitfalls are, and find out where we can increase efficiency and enable creativity.

How can we deliver tools that make their jobs faster, especially for tasks that are redundant and menial? How can we speed that up so that our customers can focus on getting a great sounding mix, and getting very creative results? Beyond that, we want to make sure that we are able to support our really strong third-party Alliance Partners who are usually on the forefront of solving a lot of our customers’ challenges too. We want to stay close and partner with our customers, and also with the developers, so that we can create the best workflow experience possible.

A big thanks to Tony Cariddi for this look to the future of VR sound in Pro Tools – and to Jennifer Walden for doing the interview! Learn much more about Pro Tools here

 

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A Sound Effect gives you easy access to an absolutely huge sound effects catalog from a myriad of independent sound creators, all covered by one license agreement - a few highlights:

  • The Zombie Apocalypse has arrived, and the virus is spreading fast. This comprehensive sound library features 20,000 high quality zombie sounds, making it the most complete zombie sound collection ever released.

    Expert Vocalizations
    In today’s films and video games, zombies have four distinct vocal archetypes. The renowned creature voice talents from The Monster Factory have expertly performed all these vocalizations, covering every genre of zombie imaginable—from the fast-paced, ultra-rabid freshly infected to the slow, hauntingly wailing undead. Our team has been trusted by AAA video game companies for over 15 years, contributing creature vocalizations to games like Star Wars Outlaws, Dead by Daylight, Until Dawn, Hellblade 2, Baldur’s Gate 3, and many more. Their expertise in creating immersive audio nightmares is highly sought-after in the industry.

    More Actions and Variations
    Unlike typical sound libraries that limit diversity by offering only a few choices, Zombie Apocalypse delivers a wider range of actions and variations. With more options for nuanced performances, you can ensure that the sounds match every movement and action of your characters. The Zombie Apocalypse library covers a wide range of actions and intensity level, including:

    • Breathing, Walking, Running
    • Idle, Detection, Attacks
    • Pain & Death sequences
    • Biting, Chewing, Choking, and much more!

    For the full list of actions, click here.

    Voice Layering Options
    For greater customization, we recorded each action with a consistent phonetic script, ensuring that different voice techniques can be perfectly layered together. You can mix 2, 3, or even 4 different voice techniques, giving you endless possibilities to create unique zombie sounds or even non-zombie creatures. Though designed primarily for zombies, this library’s layering capabilities make it versatile enough to design an array of creatures and monsters. It’s the most flexible collection of creature vocalizations available.

    Distant Microphone Recording
    While recording, we used a second Sanken CO-100K microphone positioned 3 meters away from the first, adding depth and nuance to the recordings. These distant microphone audio files will help you create richer ambiances, ensuring that not all zombies sound the same or come from the same distance.

    Unparalleled Level of Audio Quality for Unparalleled Level of Terror
    Recorded at Tone Studio in Montreal by James Duhamel, the Zombie Apocalypse library offers pristine audio fidelity with a 192 kHz/24-bit sample rate. This, combined with the talents of trusted voice actors and the increased variety of actions and variations, the layering option to keep your listeners immersed and on edge, makes Zombie Apocalypse the most complete and unique sound library on the market. If it is not the first zombie sound library you have bought, this one will definitely be your last.

    Rich Metadata Embedded
    Every file comes with UCS naming and detailed metadata, including file descriptions and keywords, ensuring that you can quickly find the right sounds for your project.

  • The ROCKS Library is a collection of more than 700 designed rock and stone sound effects, ready to use.
    From single stone impacts to large heavy collapsing rocks, avalanches, rockslides sounds, rolling and falling stones, debris sounds….

    Originally recorded at 192 kHz with two Sennheiser MKH8040, a Sanken CO-100K and a Sound devices Mixpre 6. Delivered at 96Khz.

    Each sound file has been carefully named and tagged for easy search in Soundminer and is Universal Category System (UCS) compliant.

    (see the full track list below).

  • Rock / Stone Sound Effects Rocks Momentum Play Track 1100+ sounds included $37

    The Rocks Momentum sound effects library gets you more than 1100 sounds of rocks, bricks, wood logs, stones, impacting on different surfaces, rolling, being scraped one against the other and so on. The library was recorded in the Italian alps, and in Inverness, Scotland. Defective construction materials were used for the recording of bricks, roofing tiles, cement blocks etc.

    Bonus: Two extra libraries included for free:
    This library also includes two additional releases from Mattia Cellotto - for free: Crunch Mode delivers 230 crunchy sounds made with a variety of vegetables, fresh bread, pizza crust and a selection of frozen goods. The Borax Experiment gets you 158 squishy, gory, slimy and gooey sounds.
Explore the full, unique collection here

Latest sound effects libraries:
 
  • Environments & Ambiences Geophonic Sound Effects Play Track 98+ sounds included, 32 mins total $15

    This audio library features low-frequency drones, powerful impacts, metallic scrapes, resonant vibrations, and other rare audio textures.
    All sounds were recorded using the LOM Geofón, a device that captures low-frequency surface vibrations that conventional microphones cannot detect.

    The recordings were made with the TASCAM Portacapture X8 at 192 kHz/32 bit, ensuring maximum detail and sound quality.

    50 %
    OFF
  • Environments & Ambiences Southeast Asia Play Track 147 sounds included, 225 mins total $32.50

    A field-recorded collection from Vietnam, Cambodia and Thailand capturing the sounds of tropical environments, urban life, transport and religious sites.
    Southeast Asia includes jungle ambiences, heavy monsoon rains, street markets and traditional ceremonies.

    Last September, I spent 3 weeks vacationing in Southeast Asia, visiting Vietnam, Cambodia and Thailand.
    During my stay, I recorded everything I thought could be characteristic of those cultures: from tropical to urban environments, religious ceremonies and places of worship, modes of transportation (from boats to tuk-tuks), spoken language, monsoon rain, etc.

    The recordings are situational, meaning I didn’t prepare anything before starting to record. If I found myself in a location that seemed suitable, I simply pressed REC.
    I used my Tascam DR100 MK3 or the Zoom F6 with a pair of Line Audio OM1 omnidirectional microphones

    Audio files are 96kHz/24 Bit. Cleaned and edited for professional use, with UCS naming and full metadata.

    50 %
    OFF
  • Ambisonic Sound Effects Ambisonic Walla, Public Places Play Track 52+ sounds included, 172 mins total $21

    Walla, public places recorded in ambisonic B-format (ambix) and binaural.
    Including some actions like walking, running around mic etc.
    Recorded with Sennheiser Ambeo VR microphone and Sound Devices recorder. See the track list for additional info.

    The download contains each recording in B-format (RAW-4ch.) and as Binaural Stereo files. The audio preview is binaural and should be listened to with headphones. All files are tagged with Metadata.

    9 %
    OFF
  • Environments & Ambiences South African Walla Play Track 21 sounds included, 33 mins total $50

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    Featuring in-studio recordings with all South African cast, for a real South African feel without the distractions of exterior noise. These organic crowd murmurs, ambient dialogues, and background chatter reflect a variety of local languages, dialects, and cultural settings, making them perfect for film, TV, games, and immersive audio experiences. Elevate your sound design with the unmistakable authenticity of South African walla!

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  • Cold Weapon Sound Effects Anime Weapon Play Track 681 sounds included, 21 mins total $99

    Anime Weapon Sound Effects – 681 Stylized Sounds for Your Game!

    Bring your game to life with 681 high-quality anime weapon sound effects, carefully designed for easy implementation in any project. Whether you’re crafting an anime RPG, action-packed hack-and-slash, or futuristic mecha shooter, this sound pack delivers everything you need to create satisfying and immersive combat audio.

    Each weapon type comes with game-ready, clearly named files, making it simple to drop them into your project and features variations from light to heavy, critical, and epic, giving you full control over intensity and impact:

    🔹 Swords & Spears – Swings, swooshes, impact hits, and special skills
    🔹 Bows – String draw, arrow release, and impact sounds
    🔹 Lasers & Mecha – Power-up charges, shots, impacts, and skill effects
    🔹 Guns – Designed anime-style gunshots with skill variations


   

One thought on “What the future holds for Pro Tools and VR – a Q&A with AVID’s Tony Cariddi:

  1. Interesting read. Their product team taking Ambisonics seriously is a late yet great start. More tracks are already being recorded and mixed in Ambisonics format, especially in Higher Order Ambisonics (HOA), but can’t be easily loaded and processed at the moment as Pro Tools HD limits only 8 channels per track. I believe this has significantly hindered many sound engineers and plugin developers from utilizing Ambisonics. Looking forward to hearing updates on HOA.

    Food for thought. Will Pro Tools update/improve interpolation features for automation any sooner? Angle is one of the most critical parameters for interactive sound to fully implement head rotation and spatial positioning in VR, but it’s not properly addressed by the current version. i.e. if the object doesn’t fall under min and max range, its angle value gets distorted right when it passes 360 and 0 degree :(

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