Immersive audio transforms the listening environment to deliver a mesmerizing and captivating experience for a wide range of audiences and expansive group of genres.
Part 3 in our immersive Audio series examines object audio and the core technology that empowers producers and sound engineers to deliver compelling auditory experiences.
We start with defining the key differences between traditional channel-based mixing and object programming. Spatially defined objects must be described using meta-data to allow us to fully create the immersive experience and how we record and express these must be understood. We investigate the methods available for this.
Using the blockbuster film Gravity as an example, we analyze and uncover the object methods used within the production context. Listener orientation is a key component in creating an effective mix and the psychological impact is further considered.
In their case study, Sennheiser provide an outstanding description of how to deliver location recording and mixing for production. They discuss the specialist microphones needed to truly enhance the immersive experience by recording the most optimal object audio possible.
With an in-depth description of object reproduction, Genelec Senior Technologist Thomas Lund uncovers the best strategies and requirements for loudspeaker placement to deliver accurate immersive audio. He digs deep into the standards and answers the age-old question “can I monitor using headphones?”
Lawo’s Christian Scheck discusses the functions available for immersive audio production. He looks at advances in technology and what we should expect for the future. Scheck goes on to discuss new methods of the user interface and how object monitoring solutions are being designed to deliver the best immersive sound possible.
This Essential Guide, part 3 of the series, continues our journey through immersive audio and object sound, and its applications in broadcast television.
Download this Essential Guide now to better understand immersive audio and object sound.
You might also like...
Bob Dylan was riding a crest of social change when he wrote those lyrics in 1963. But the words popped back into my mind as I thought about several recent conversations with friends who complain of their struggle to stay afloat…
Lawo’s Christian Struck looks at the potential for production automation in immersive sports broadcasting, and how it can help move towards a personalized, object-based experience.
Genelec Senior Technologist Thomas Lund moves the monitoring discussion on to the practical considerations for immersive audio, wherever you are.
In this fourth installment of the Immersive Audio series we investigate the production tools needed to produce live immersive content. Moving from channel-based output to object audio presents some interesting challenges as the complex audio image moves around in three-dimensional…
Immersive audio has the great potential to transform our human listening experience, captivate our imagination, and inspire our inventiveness.