Abstract
With the recent emergence of digital 3D stereoscopic films, the image has been increasingly the focus of the immersive experience for the cinema audience. With surround sound having been introduced from as early as Disney’s 1940 release of Fantasia in Fantasound, cinema sound has traditionally been at the forefront in the creation of an immersive cinematic experience, however now appears to be foreshadowed. Over the past 2 years, parallel to the changes in screen technologies, cinema sound has been attempting to provide a true 3D aural immersive experience.
Some in Hollywood argue that cinema sound has been in 3D since the initial introduction of surround sound, and it is only now, that the film image has become 3D and has finally caught up. Cinema sound practices have not seen a shift with the introduction of the 3D imagery, with the exact same soundtrack being shared by both the 2D and 3D release of the same film.
The introduction of surround sound provided an additional dimension to cinema allowing the sound practitioner to move sounds from apparently within and beyond the visual frame. With the introduction of 3D visuals, the image is no longer sitting on a 2D plane, and it can now artificially detach from the screen itself. 3D imagery is now occupying a greater volume of the visual spectrum, however the volumetric space occupied by the soundtrack remains independent and dislocated.
Although there is a shift with cinema sound technologies to increase channels and speakers, does this in fact provide a 3D sound solution or does it actually contribute to the breakdown in relationship between the soundtrack and the image?
Some in Hollywood argue that cinema sound has been in 3D since the initial introduction of surround sound, and it is only now, that the film image has become 3D and has finally caught up. Cinema sound practices have not seen a shift with the introduction of the 3D imagery, with the exact same soundtrack being shared by both the 2D and 3D release of the same film.
The introduction of surround sound provided an additional dimension to cinema allowing the sound practitioner to move sounds from apparently within and beyond the visual frame. With the introduction of 3D visuals, the image is no longer sitting on a 2D plane, and it can now artificially detach from the screen itself. 3D imagery is now occupying a greater volume of the visual spectrum, however the volumetric space occupied by the soundtrack remains independent and dislocated.
Although there is a shift with cinema sound technologies to increase channels and speakers, does this in fact provide a 3D sound solution or does it actually contribute to the breakdown in relationship between the soundtrack and the image?
| Original language | English |
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| Publication status | Published - 2014 |
| Event | Australian Screen Production Education and Research Association Conference 2014: ASPERA Conference 2014 - University of Newcastle, Newcastle, Australia Duration: 17 Jul 2014 → 19 Jul 2014 http://www.aspera.org.au/annual-conference/conference-2014/ http://www.aspera.org.au/wp-content/uploads/2015/03/Annual-Conference-Program-2014.pdf (program) |
Conference
| Conference | Australian Screen Production Education and Research Association Conference 2014 |
|---|---|
| Abbreviated title | Screen Explosion: Expanding practices, narratives and education for the Creative Screen Industries |
| Country/Territory | Australia |
| City | Newcastle |
| Period | 17/07/14 → 19/07/14 |
| Internet address |