The Reality 2.0 software suite supports all deliverables in immersive audio productions for film, music, television, virtual reality, extended reality (XR) projects, or even special content for theme parks and planetariums. The Barcelona-based company releases Reality Builder originally in 2018 as the first ever audio mixing system compatible with all existing immersive and non-immersive formats following 10 years of intensive research.
The company's approach to object-based, integrated immersive audio creation redefined the classical concepts of using reverb, panning, and mixing, unifying them into a single space, and providing a new paradigm for sound production and mixing, enabling sound engineers to focus on the creative process. Reality Builder is built upon a proprietary physical modeling engine that allows users to realistically recreate real spaces and locate, move, and rotate sound sources in real-time, recreating natural soundscapes or creating completely new aural experiences.
With Pro Tools originally designed as a track-based system, transforming it into a fully object-based system for the whole creative and delivery workflow was a remarkably complicated task. Existing object-based systems are mainly used for delivery, and use external hardware to manage and mix the objects. However, DSpatial's approach consisted in building tools inside Pro Tools for the complete creation and production process. The objects' positions in tridimensional space are saved as standard Pro Tools automation, allowing the mix to be modified as many times as necessary until the final rendered mix is completed. Crucially, this means that the work can be started and finished inside Pro Tools. The information generated by the software is pure metadata, and engineers can even work at home and perfect their work later in a larger studio.
The original DSpatial Reality Builder software was adopted in Hollywood and used to mix soundtracks as part of multiple film studio's creative toolkit. Now, the updated Reality 2.0 software suite has been natively optimized for immersive 3D production, rethinking the user interface in the way how humans interact with tridimensional space. In the background, the software automatically handles all the complex tasks required to generate the mixing information, avoiding manual processes.
Production is format agnostic. Only one mix is necessary for any existing or future delivery formats independently of equipment and media delivery — no downmixing required. With Reality 2.0, mix engineers are able to exchange totally compatible sessions between different studios, each one with a different speaker setup or even just using headphones — and all without losing any spatial and immersive information.
Literally everything content creators, mixers, and producers need is now integrated into the same workflow and all mixed tracks are directly compatible with all immersive or non-immersive formats alike, including Atmos, Auro3D, DTS, NHK, Sony SDDS, Ambisonics — FuMa and ambiX (inputs) and FOA FuMa, FOA ACN, or 2nd HOA ACN (outputs) — and binaural for cinematic VR and 360º video. Sound designers can start working in, say, stereo, 5.1, or even binaural, and their sessions can be played back in an Atmos stage while all spatial information is retained. As all positions and related data are recorded in Pro Tools automation, work from different sound designers could also be aggregated using Pro Tools’ own Import Session Data feature.
Reality 2.0 users can simply start working with standard AAX plug-ins inserted on each input channel. Those plug-ins provide most of the available functions for working seamlessly within the classic Pro Tools workflow. Proximity, Inertia, and Doppler parameters — as well as reverberation send, Immersive Tools, and more — are all controllable via the same panel with its own spatial location. Multiple predefined sound trajectories can be automatically programmed, and an extensive list of geometric shapes and a library of more than 200 spaces is included.
Reality 2.0 recreates the real sound of proximity and distance from the listener’s perspective, making use of all available loudspeakers to recreate complex reflections within the sound field. And engineers can easily and realistically locate, move, rotate, collapse, or explode sound sources in real-time — even beyond the walls of the listening room! Reflection, refraction, diffraction, and acoustic scattering effects produced by walls, objects, and doors are all simulated down to the finest detail. Problematic properties like inertia and the Doppler effect are created automatically by simply moving the sound source.
Additionally, DSpatial’s proprietary physical modeling engine includes up to 96 real-time convolutions, ideal to use for dialog, foley, sound design, or any other immersive or VR ambiences. The world’s first true IR (Impulse Response) modeler is also available within Reality 2.0, generating ultra-realistic and immersive IRs for up to 48 channels. Finally, DSpatial Reality 2.0 supports up to eight professional-grade touch screen models, with up to 10-point multi-touch — perfect for positioning sound sources in space using different views.
Because not everyone will need to mix for 48.2 channels, Reality 2.0 is available in four versions respectively priced according to their specifications, as outlined online in a convenient comparison chart (here).
Reality VR is available to purchase as an object-based production suite in AAX format for Pro Tools (11, 12, Ultimate) on macOS (10.9 and above) — with support for Ambisonics and binaural outputs, 100 inputs (mono), and two LFE channels, amongst many more standout features — for €495.00 EUR from DSpatial’s online Store.
Reality ONE adds many more standout features for €995.00 EUR, Reality Studio is available with additional support for Dolby Atmos for €1,495.00 EUR, and Reality Builder, the complete object-based production suite adding an exclusive Room Builder is available for €2,595.00 EUR.
www.dspatial.com
