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object...to object
In a way, the purest object is the object created by software programmers in OOP (Object Orientated Programming), a kind of self-sufficient module that can be re-used, reproduced, bred, and left - in a conceptual sense - to its own devices. In games development a ball might travel the virtual world and choose its own sounds depending on what it hits or interacts with. A reverb might change with the environment, or a surface might determine the sample that is triggered. These ideas have certainly been discussed in the mix room - games sound designers have even been invited to speak at large post facilities, so it’s not so far fetched to imagine these kinds of objects playing a part at some point.
In a very closely related way, we’ve been dealing with objects in DAWs for a very long time already - regions, the audio pool, the clip list, and so on. With clip-based automation, the mix instructions travel with the audio and are rendered on playback.
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That clip is essentially an object, carrying around the information needed to become a useful part of the mix.
It’s that idea - that the instructions for rendering the mix are delivered separately from the audio itself - that is at the heart of the Dolby Atmos version of an object. The audio on a track is the raw material; when you put an Atmos panner on that track, it becomes an object. The description of where that audio is in a physical space is only imposed on the audio at the RMU (Rendering And Mastering Unit) for monitoring and at the CP850 processor in the cinema.
Maybe a more comfortable target for the ‘object’ label in Atmos would be the source itself - the thing that is making the noise on screen (or off). Whether it’s the feet of an extra, the mouth of the main character, or a bullet that's making its way from behind the listener and into the victim - front and centre.
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Paul Mac guides us through the iMMersive audio exPerience there is more flying around in the innovative audio space than just objects...
In post, yes, the object has arrived; in Broadcast the talk is of objects, but in others it’s ‘programme elements’, sub- streams, presentations, and the oncoming AC-4. Their bedfellows - immersive audio and 3D audio - have been enabled by both the objects of Dolby Atmos, and the layers of the alternative Auro-3D. Can AC-4 be equally enabling in broadcast? Confused? No longer...
One of the big issues in all of this is the definition of an object and what it means to different technologies and platforms.
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