This technical report consists of two chapters. The first one is concerned with the workflow that "Acoustic Quadraphony" (AQ) has to comply in order to fit properly the production, post-production and exhibition steps of the Digital Cinema chain. In the second chapter it is shown how AQ and the holophony-based Wave Field Synthesis approach to multichannel audio, are each other related through the so called B-Format: just the 5.1 matrix transcoding currently used by AQ for passive rendering of quad-signals. It turns out that AQ and WFS not only are compatible audio technologies but even that WFS could greatly benefit from sound data and metadata pickedup with intensimetric probes following the AQ recording methodology. The present report is intended as a Milestone of Task 5 within WP7 at month 27 of the IP-Racine TA25-42.
Integration of Acoustic Quad audio technology in the Digital Cinema Workflow and comparison with Wave Field Synthesis, M27.WP7.T5
Gonzalez D;Stanzial D
2006
Abstract
This technical report consists of two chapters. The first one is concerned with the workflow that "Acoustic Quadraphony" (AQ) has to comply in order to fit properly the production, post-production and exhibition steps of the Digital Cinema chain. In the second chapter it is shown how AQ and the holophony-based Wave Field Synthesis approach to multichannel audio, are each other related through the so called B-Format: just the 5.1 matrix transcoding currently used by AQ for passive rendering of quad-signals. It turns out that AQ and WFS not only are compatible audio technologies but even that WFS could greatly benefit from sound data and metadata pickedup with intensimetric probes following the AQ recording methodology. The present report is intended as a Milestone of Task 5 within WP7 at month 27 of the IP-Racine TA25-42.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
