Immersive audio is appearing in modern cinematic storytelling more frequently. In traditional sound mixing, a first sound can have a tight semantic coupling to a second sound, such as a gunshot and ricochet, or a handclap and its reverberation. Immersive sound systems can direct these precedent and consequent sounds to different locations so that they envelop the audience. When consequent sounds are not managed, the psychoacoustic principle known as the “Haas Effect” can result in portions of an audience misunderstanding the placement of precedent sounds, momentarily disrupting their experience.
A series of immersive sound examples, formally presented to subjects in a theater environment, demonstrates this problem and the effectiveness of a proposed management technique, applicable to object-based, wave field-synthesized, and ambisonic reproduction.
The methodology used for this test may be applied to evaluate other aspects of immersive sound systems in theaters. Attendees of this webcast will discover many challenges associated with managing immersive audio.
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Bill began his career mixing technology and entertainment obtaining a Masters Degree in Engineering at UCLA while building practical electronic props for Battlestar Galactica (the original) and Buck Rogers (not the original).
Twice Director of Technology at Walt Disney Imagineering, developing and fielding ride systems including Indiana Jones at Disneyland Park, and twenty interactive attractions still seen at DisneyQuest, Orlando.
Currently a Technicolor Fellow and their Director of Standards in Immersive Media Technologies, Bill has 40 issued U.S. patents and over 40 pending in fields including: Virtual Reality, Online Media Production, Distributed Network Streaming Media and Interactive Systems, 3D Displays, Online Communities, Content Distribution to Mobile Devices, Healthy Play for Children, Travel Planning, Electric Vehicle Infrastructure, Driving Safety, and Digital Cinema.