Brendan Wolf

Technical Audio Designer, The Meta LLC

Brendan is an accomplished Technical Sound Designer for games and VR. He's known for his work as Audio Implementation and Sound Editor on the MPSE Golden Reel award-winning VR animated short, Baba Yaga (2021) for the Oculus Quest. He has worked previously as an Audio Engineer for Pollen Music Group where he was onboarded at Facebook's Menlo Park campus and Baobab Studios as an audio partner for various projects. Brendan earned his MFA in Music Production & Sound Design for Visual Media from the Academy of Art University in San Francisco and currently lives in Walnut Creek, CA with his incredibly supportive and loving wife.

Brendan is speaking at

Sound Design & Technology
November 9, 2021
9:00 am - 10:00 am
Live Stream 2

Speakers

  • Brendan Wolf (Speaker) Technical Audio Designer, The Meta LLC
  • Scot Stafford (Speaker) Sound Supervisor and Composer, Pollen Music Group

Description

Spatial audio design for interactive VR animation is quite a niche and last year, we were fortunate to have worked with a director that was willing to take creative risks to pave new ground. Having an open mind coupled with a healthy sense of humility seems to be the best way to conquer the rapidly changing landscape of VR. Whether it’s new features being added to game engines to support higher order Ambisonics and new spatializers, or headsets with greater dynamic range and frequency response; the industry is a wild frontier that is served best with constant experimentation and rapid prototyping to discover what enchants the ears and what falls short. Despite these challenges, our small audio team at Pollen Music Group was delighted to be recognized by the Motion Picture Sound Editors earning the 2021 Golden Reel Award for Outstanding Achievement in Sound Editing – Animation Short Form for our work on Baba Yaga on the Oculus Quest – and we’d love to share our story!

The goal of our talk is to provide a postmortem of our work and share our successes, failures, and other nuggets of wisdom gleaned from our audio journey during 2020. We hope that it inspires our game audio community at large that might be curious about VR audio and perhaps motivate our fellow colleagues to take more creative risks in their work. Given that all our audio work was achieved using only stock Unity Audio, no third-party plug-ins, or audio middleware, we are proof to that it doesn’t require expensive equipment or software to achieve excellence in sound design. It just requires a passion to make the best sounding product that the hardware will deliver and a lot of experimentation to discover the best techniques that synergize in each scenario.

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