Reference : Sound for 3D Cinema and the Sense of Presence
Scientific congresses and symposiums : Paper published in a book
Engineering, computing & technology : Electrical & electronics engineering
http://hdl.handle.net/2268/127803
Sound for 3D Cinema and the Sense of Presence
English
André, Cédric mailto [Université de Liège - ULg > Dép. d'électric., électron. et informat. (Inst.Montefiore) > Dép. d'électric., électron. et informat. (Inst.Montefiore) >]
Embrechts, Jean-Jacques mailto [Université de Liège - ULg > Dép. d'électric., électron. et informat. (Inst.Montefiore) > Techniques du son et de l'image >]
Verly, Jacques mailto [Université de Liège - ULg > Dép. d'électric., électron. et informat. (Inst.Montefiore) > Exploitation des signaux et images >]
Rébillat, Marc mailto [Université Paris Descartes, Paris, France > Laboratoire Psychologie de la Perception > Equipe Audition > > >]
Katz, Brian F.G. mailto [LIMSI-CNRS > Communication Homme-Machine > Groupe Audio & Acoustique > >]
18-Jun-2012
Proceedings of the 18th International Conference on Auditory Display
Nees, Michael A.
Walker, Bruce N.
Freeman, Jason
Yes
No
International
The 18th International Conference on Auditory Display (ICAD-2012)
du 18 juin 2012 au 21 juin 2012
International Community for Auditory Display
Atlanta
GA
[en] stereoscopic 3D ; wave field synthesis ; presence
[en] While 3D cinema is becoming more and more established, little effort
has focused on the general problem of producing a 3D sound scene
spatially coherent with the visual content of a stereoscopic-3D (s-3D)
movie. As 3D cinema aims at providing the spectator with a strong im-
pression of being part of the movie (sense of presence), the perceptual
relevance of such spatial audiovisual coherence is of significant interest.
Previous research has shown that the addition of stereoscopic informa-
tion to a movie increases the sense of presence reported by the spectator.
In this paper, a coherent spatial sound rendering is added to an s-3D
movie and its impact on the reported sense of presence is investigated.
A short clip of an existing movie is presented with three different sound-
tracks. These soundtracks differ by their spatial rendering quality, from
stereo (low spatial coherence) to Wave Field Synthesis (WFS, high
spatial coherence). The original stereo version serves as a reference.
Results show that the sound condition does not impact on the sense
of presence of all participants. However, participants can be classified
according to three different levels of presence sensitivity with the sound
condition impacting only on the highest level (12 out of 33 participants).
Within this group, the spatially coherent soundtrack provides a lower
reported sense of presence than the other custom soundtrack. The
analysis of the participants’ heart rate variability (HRV) shows that the
frequency-domain parameters correlate to the reported presence scores.
Researchers ; Professionals ; Students ; General public
http://hdl.handle.net/2268/127803
http://hdl.handle.net/1853/44399

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