Sound Design for Cinematic Virtual Reality: A State-of-the-Art Review

Chaurasia, Hitesh Kumar; Majhi, Manoj

doi:10.1007/978-3-030-94277-9_31

Cited by 2 publications

(1 citation statement)

References 36 publications

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“…Commercial headphone equalizers based on HRTFs (Unity or Unreal Engine with Stea-mAudio or FMOD) are used in various works [46, 104, 116, 133, 144-146, 153, 164, 165, 175, 184-186]. Other headphones, commercial or open-source headphone-based rendering models, and commercial or open-source libraries have been considered in reviewed papers: OpenAL [108,109,142], Audiokinetic WWise [155], Apple XCode [175], Processing [130] or not specified [56,110,131,143,150,159,174,187]. Andolina et al [134] uses a "headset capable of 3D audio".…”

Section: Sound Reproduction and Spatialisationmentioning

confidence: 99%

The Role of Audio in Immersive Storytelling: a Systematic Review in Cultural Heritage

Privitera,

Fontana,

Geronazzo

2024

Multimed Tools Appl

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Nowadays, Virtual and Augmented Reality technologies play a supportive role in many research fields. In cultural heritage, various examples are available, including storytelling and narratives, where they can provide immersive and enhanced experiences to visitors and tourists, especially for entertainment and educational purposes. This review aims to investigate the opportunities that soundscape design and advanced sonic interactions in virtual and augmented environments can bring to cultural heritage sites and museums in terms of presence, emotional content, and cultural dissemination. Nineteen-two papers have been identified through the PRISMA methodology, and a promising positive effect of sonic interaction on user experience in a virtual environment can be observed in various studies, notwithstanding a general lack of specific contributions on the use of sound rendering and audio spatialisation for improving such experiences. Moreover, this work identifies the main involved research areas and discusses the state-of-the-art best practices and case studies where sonic interactions may assume a central role. The final part suggests possible future directions and applications for more engaging and immersive storytelling in the cultural heritage domain.

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