Scholarly record
3D AUDIO IN CINEMAS: A HIGH CREATIVE POTENTIAL FACES ITS LIMITS
Abstract
The introduction of 3D audio sound systems in commercial cinemas in 2012 aimed to revolutionize multichannel sound. A large number of loudspeakers increase spatial resolution, help to position sources more precisely and enable a three-dimensional sound experience. The new technology mainly represented by the brands Dolby Atmos and Auro-3D raises the question whether these new sound formats amount to a merely technical upgrade or whether the expanded possibilities of sound design lead to new ways of storytelling. In order to thoroughly discuss the new creative potential of 3D audio and its aesthetic consequences, three short films with a specific spatial music score, 3D audio sound design and a 3D mix (Auro-3D) were produced. In designing these films, the involved screenwriters and directors took into account that they would have the possibilities of 3D audio at their disposition. This leads mostly to a special emphasis on space and on off-screen elements. After completion, the 3D audio versions of the films were compared to the conventional 5.1 surround versions. This paper is based on an artistic research project. The findings suggest that 3D audio offers a whole variety of new tools in order to substantially enhance the subtlety of audio related narrative. Spatial representation appears much more naturalistic, complex sound layers can reach a higher transparency and individual sounds can be located more precisely within the space of the auditorium. However, the vast majority of the audience can only be reached with conventional and thus simpler audio solutions, such as 5.1 surround in cinemas or stereo systems within the home market. Hence, the necessary downward compatibility tends to limit creative solutions, as spatial aural cues that are dependent on 3D audio representation cannot, or only imprecisely, be perceived in other versions.
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