Spatial sound effects such as VBAP, DBAP or even Ambisonics, which had, up until now, been relegated to the ranks of experimental practice, have now found a place among the new audio techniques said to be "object" oriented. Each "technological innovation" has its own corresponding artistic device ; these systems seem bound to propose sensory experiments in augmented reality, appealing directly to cinema-as-spectacle venues such as La Géode or Imax. Therefore, the recent standardization of object as a mode, foreshadows its future development in the field of cinema and television broadcasting, as confirmed by recent movie successes using this method (The Revenant3, Gravity4). In this new paradigm where cinematographic spectacle is reconfigured as a space-sound oriented script, we have wished to expose the stakes and opportunities offered by these new object-oriented techniques, whilst questioning their legitimacy in film design. This document presents a situational analysis of the object-based approach. It questions its implementation in movie theatres, initially from a technical and technological point of view and subsequently from a practical perspective with regard to its place in the postproduction workflow. Lastly, it studies the creative impact on the film’s narrative content.
Keywords : VBAP / DBAP / Object-based audio approach / Automatic Downmix / Spatialization / Sound Space / Sound Postproduction / Cinema Sound