Digitized Reality / 3D Audio (2014-2015)

The new technology of 3D audio – 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 creative potential of 3D audio, three short films with a specific spatial music score, 3D audio sound design and a 3D mix were produced. The results were compared to the conventional 5.1 surround versions of the same films.
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Off-Screen Storytelling



Since 1979, when Francis Ford Coppola’s APOCALYPSE NOW introduced the 5.1 surround-sound system (five discrete main loudspeakers and a low-frequency loudspeaker), which remains the de facto standard to this day, surround sound in cinemas has developed only marginally and has remained limited to the two-dimensional level despite digitization obviously improving sound quality and dynamic range. Technical innovations in recent decades have concentrated almost exclusively on the image.


The introduction of Dolby Atmos and Auro-3D in 2012 aims to revolutionize multichannel sound in cinemas: Besides a large number of loudspeakers, which will increase spatial resolution and thus help to position sound sources more precisely in movie theatres, for the first time in the history of cinema consideration is also being given to the additional parameter of elevation contour mapping. This will enable a three-dimensional sound experience.


This development raises various questions for filmmakers:


  • Do these new sound formats amount to a merely technical upgrade or can these expanded possibilities of sound design also be put to meaningful dramaturgic use? Should such possibilities be considered already at the scriptwriting stage?
  • Do we need to fundamentally rethink the conceptualisation of films?
  • Is higher production expenditure justified, and how far does it create added (artistic) value?
  • Can the use of three-dimensional sound also negatively affect spectators and deflect their attention too far from events on the screen?

In addition to interviews with sound designers and directors who have worked with the new systems, the above questions will also be explored through film projects, specifically three shorts produced with 3D sound. Findings will be presented and assessed at the symposium IMMERSIVE SOUND in May 2015.


The three shorts will be developed and realised as part of a BA semester project on “Off-Screen Storytelling,” where film students will work closely with music students majoring in sound design, composition for film, theatre, and music, and electroacoustic composition. The shorts (each with a runtime of 5–10 mins) will focus on “Off-Screen Sound.”

Driven

Johannes Bachmann | 2015 | Horror, Thriller | 9 min

A women, in a car, in the woods, at night. She hits something with her car.

Invincible

Anna Furrer | 2015 | Drama | 9 min

Shortly before a fight, boxer Tom hast lost his courage to win.