Sound editor for fiction and animation films and series, as well as teacher, Ary Carpman – Argentinian living in Paris – explains the technical challenges posed by 3D audio.
We are talking more and more about spatial sound, particularly for cinema. Do you notice it?
Indeed, spatial audio – including technologies such as ambisonics [format sonore immersif très exploité dans le domaine des jeux vidéo] or Dolby Atmos – is becoming more and more common in the practice of sound editing, sound design and film mixing. Moreover, multichannel sound pushes us, as professionals, to question the relevance of these new technologies on an aesthetic and narrative level, and to invest in new hardware and software. This should increase sound production and post-production costs. And this will help ensure that the status of those who cut the soundtracks of films produced in France is recognized.
What are the technical implications of recording 3D audio for you?
In addition to the technical equipment necessary for “surround” (multi-channel sound) or “Atmos” listening, this requires considerable additional work for sound editing and mixing, just as when switching from stereo to 5.1 [cinq voies, assorties d’un subwoofer, un haut-parleur destiné à la reproduction des fréquences sonores les plus basses du spectre audio].
For example, creating a sound ambiance in surround (5.1) or Atmos (7.1.4) requires, ideally, designing this ambiance from multiphonic sound recordings, made with capture systems including several microphones (five for 5.1, eleven for Atmos) or with ambisonic microphones. However, the reality is that, for the moment, these recordings are still in the minority compared to the stereophonic recordings (2.0) available in most professional sound libraries that we use on a daily basis. There is still real work to be done in this area.
Do you think spatial audio is the future of movie soundtracks, or even streaming music?
The possibility of watching series or other programs in surround or Atmos can be attractive for certain works, but this requires technical equipment that is difficult to set up in the living room of the house. This was the case in the past with quadraphonic vinyl records which failed to dethrone stereophony. It’s not easy to make home cinema at home either. And this would probably also be the case with Dolby Atmos, DTS:X or other upcoming formats.
You have 24.12% of this article left to read. The rest is reserved for subscribers.