Designing the Stereoscopic 3D Media Soundscape: An Exploration of the Perceptual Effects of Auditory Cues Alteration on Stereoscopic 3D Presentations

Assisted by the technological advances of the past decades, stereoscopic 3D media are currently making another attempt to be established as mainstream forms of entertainment. Arguably, the main focus of this effort is placed on the creation of immersive 3D visual worlds. However, with few exceptions, little attention has been given so far to the potential effect of the soundtrack on such environments. The potential of sound both as a means to enhance the impact of the 3D visual information and to expand the 3D world beyond the boundaries of the visuals is large. In this context, we highlight some of the challenges 3D content producers face. Then, we propose a number of ways in which the soundtrack can be used to complement 3D media productions. These propositions are based on the unique spatial characteristics of stereoscopic 3D media and cover considerations on the spatial orientation of the soundtrack, the use of audio cues to direct visual attention, to support camera and 3D object movements as well as 3D material editing. Finally, we report on the results of a series of experiments we ran exploring the effectiveness of specific auditory cues in 3D audiovisual presentations. Results, although not conclusive, indicate that some of the studied auditory cues can influence the audience judgement of depth and immersion in 3D animation scenes, sometimes in unexpected ways. We conclude that 3D media content creation can benefit from further studies on the effectiveness of specific sound design techniques to enhance space perception and immersion.



Author Information
Christos Manolas, Rose Bruford College, United Kingdom
Sandra Pauletto, University of York, United Kingdom

Paper Information
Conference: EuroMedia2019
Stream: Film Direction and Production

This paper is part of the EuroMedia2019 Conference Proceedings (View) The full paper is not available for this title


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