Cinema sound: A new look at old concepts

Abstract

The use of third-octave-band equalisation for 'rom' correction and other compensations in cinema studios and public cinemas is virtually de rigueur. Nevertheless, the understanding of psycho-acoustics and audio signal processing has advanced enormously in the almost 40 years since the current concepts of cinema equalisation were introduced, yet some perhaps out-dated procedures still prevail. To some degree, this has been necessary to maintain the standardisation and continuity in the industry, but it has also limited the ability to make significant advances in soundtrack quality. Given what we now know, along with the imminent introduction of Digital Cinema, an opportunity seems to be presenting itself for taking a new look at the strengths and weaknesses of cinema set-up procedures. The responses of 30 Dolby certified cinema rooms, both mixing studios and public theatres, were measured at the
recommended reference distance and close to the central loudspeakers. From comparisons of the near and far responses it has been possible to assess how much the direct sound in typical theatres is being compromised in order to meet the notional standardisation of responses. The ramifications of these compromises are discussed.

More information

Identifiers

ORCID for Keith Holland: orcid.org/0000-0001-7439-2375

Catalogue record

Export record