About
Henrik Oppermann (M.Mus.) is a leading 3D sound specialist. He creates Immersive Audio since 2011. Also, Henrik is Artistic Partner for Immersive Experiences at the Mahler Chamber Orchestra and the former Head of Sound for AMBEO Immersive Audio at Sennheiser. He brings with him over 12 years’ experience of recording studio quality audio on location for film, advertising, music industry clients and 3D sound installations.
Henrik has worked on over 100 virtual reality projects, capturing 3D audio in a number of challenging environments, including low flying military aircraft, formula one race cars, refugee camps, mountain peaks and concert halls around the world.
An expert in his field, Henrik has developed hardware and software audio applications for VR collaboration with leading sound partners, to deliver the best possible immersive sound.
Henrik sees the 360 image as a score for interactive soundscapes and has developed a number of new workflows to deliver unique immersive sound experiences.
Quotes
“Henrik has a really impressive knowledge of spatial sound techniques. His work on my VR Piece, The Waiting Room, hugely enhanced the final piece. Our audience feedback often referred to the strength of the spatialised audio. Henrik’s work on the soundscape was reflected in the success of the final piece which premiered at the 76th Venice International Film Festival and won The 2019 IDFA DocLab Award for Digital Storytelling. Henrik is incredibly generous with his time, a reflection of his passion for audio and how much he enjoys collaborating with Directors and Artists in producing innovative and challenging immersive works ”
“Henrik’s 360 sound skills are extraordinary. He has a command over the technical landscape of spatial sound and is fast and efficient in implementing. He also has a good ear, creatively interested in exploring how the sound can support the piece the best. Sound is a key component for VR and 360. We all know the emotive potential for it in film, but in 360 it also has the ability to give presence, the feeling you are really there. In my opinion it is as important if not more than the visuals.”
“Visualise have delivered innovative spatial sound for a number of Jaunt VR’s European projects. As Director of Content and Production for Jaunt EMEA, I’m constantly on the lookout for pioneers of VR production. Henry Stuart of Visualise introduced me to Henrik Oppermann for a series of VR films Jaunt created in support of the British America’s Cup racing team. Henrik captured an array of ambient sounds from various locations in Bermuda, but when Henrik caught the elusive scream the tropical wind made as it breaches across the boat’s race sail - we knew we’d caught lighting in a bottle.
When I made my VR directorial debut on the Gay Pride film Love Letter From London, I knew I needed Henrik to capture the sound of a million screaming fans, disco floats, and to capture exclusive interviews we’d set up with Mayor of London Sadiq Khan and Olympic diver Tom Daley. Henrik later scored the film with an uptempo dance cut that puts a smile on the face of everyone who sees it. Jaunt are very proud of our work with Visualise and Visualise Head of Sound Henrik Oppermann and look forward to creating many ‘noisy’ projects together.”