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  • 1. Hillman, Neil
    et al.
    Pauletto, Sandra
    Audio Imagineering: Utilising the Four Sound Areas Framework for Emotive Sound Design within Contemporary Audio Post-production2016Ingår i: The New Soundtrack, Vol. 6, nr 1, s. 77-107Artikel i tidskrift (Refereegranskat)
  • 2. Hillman, Neil
    et al.
    Pauletto, Sandra
    The Craftsman: The use of sound design to elicit emotions2014Ingår i: The Soundtrack, Vol. 7, nr 1, s. 5-23Artikel i tidskrift (Refereegranskat)
  • 3.
    Idrovo, René
    et al.
    The University of York.
    Pauletto, Sandra
    KTH, Skolan för elektroteknik och datavetenskap (EECS), Medieteknik och interaktionsdesign, MID.
    Immersive Point-of-Audition: Alfonso Cuarón’s Three-Dimensional Sound Design Approach2019Ingår i: Music, Sound, and the Moving Image, ISSN 1753-0768Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Technological advances have always had an impact on the development of new audio-visual aesthetics. Recently, exploiting the spatial capabilities of immersive sound technology in the form of Dolby Atmos, Alfonso Cuarón introduced in Gravity (2013) an innovative sound design approach that enhances the illusion of ‘presence’ in the space of the diegesis by always maintaining a coherent, realistic, and immersive representation of a given point-of-audition. Such sonic strategy – which we have termed immersive point-of-audition – provides a three-dimensional representation of the filmic space, localising sound effects, music, and dialogue in accordance to the position of the sources within the diegesis. In this paper, we introduce the definition and main characteristics of this emergent sound design approach, and using Gravity as an illustrative example, we argue that it has the potential of facilitating the processes of transportation and identification in cinema.

  • 4. Julieta Lopez, Mariana
    et al.
    Pauletto, Sandra
    The design of an audio film for the visually impaired2009Konferensbidrag (Refereegranskat)
  • 5. Lopez, Mariana Julieta
    et al.
    Pauletto, Sandra
    The Design of an Audio Film: Portraying Story, Action and Interaction through Sound.2009Ingår i: Journal of Music & Meaning, Vol. 8, nr 2Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Nowadays, audio description is used to enable visually impaired people to access films. It presents an important limitation, however, which consists in the need for visually impaired audiences to rely on a describer, not being able to access the work directly. The aim of this project was to design a format of sonic art called audio film that eliminates the need for visual elements and for a describer, by providing information solely through sound, sound processing and spatialisation, and which might be considered as an alternative to audio description. This project is also of interest for the domains of auditory displays and sonic interaction design, as solutions need to be found for effectively portraying storytelling information and characters' actions through sound (not narration). In order to explore the viability of this format, an example has been designed based on Roald Dahl's Lamb to the Slaughter (1954) using a 6.1 surround sound configuration. Through executing the design of this example, we found that this format can successfully convey a story without the need either of visual elements or of a narrator.

  • 6. Manolas, Christos
    et al.
    Pauletto, Sandra
    Enlarging the Diegetic Space: Uses of the Multi-channel Soundtrack in Cinematic Narrative2009Ingår i: The Soundtrack, Vol. 2, nr 1, s. 39-55Artikel i tidskrift (Refereegranskat)
  • 7. Manolas, Christos
    et al.
    Pauletto, Sandra
    Volume Attenuation and High Frequency Loss as Auditory Depth Cues in Stereoscopic 3D Cinema2014Ingår i: 3D Research, Vol. 5, nr 3Artikel i tidskrift (Refereegranskat)
  • 8. Pauletto, Sandra
    Embodied Knowledge in Foley Artistry2017Ingår i: The Routledge Companion to Screen Music and Sound, Routledge, 2017, s. 338-Kapitel i bok, del av antologi (Refereegranskat)
  • 9.
    Pauletto, Sandra
    Department of Theatre, Film and Television, University of York, United Kingdom.
    Film and theatre-based approaches for sonic interaction design2014Ingår i: Digital Creativity, ISSN 1462-6268, E-ISSN 1744-3806, Vol. 25, nr 1, s. 15-26Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Sonic interaction design studies how digital sound can be used in interactive contexts to convey information, meaning, aesthetic and emotional qualities. This area of research is positioned at the intersection of sound and music computing, auditory displays and interaction design. The key issue the designer is asked to tackle is to create meaningful sound for objects and interactions that are often new. To date, there are no set design methodologies, but a variety of approaches available to the designer. Knowledge and understandingofhow humans listen and interpret sound is the first step toward being able to create such sounds.This article discusses two original approaches that borrow techniques from film sound and theatre. Cinematic sound highlights how our interpretation of sounddependson listening modes and context, while theatre settings allow us to explore sonic interactions from the different perspectives of the interacting subject, the observer and the designer.

  • 10.
    Pauletto, Sandra
    Department of Theatre, Film and Television, University of York, York, United Kingdom.
    Speech technology and cinema: Can they learn from each other?2013Ingår i: Logopedics, Phoniatrics, Vocology, ISSN 1401-5439, E-ISSN 1651-2022, Vol. 38, nr 3, s. 143-150Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The voice is the most important sound of a film soundtrack. It represents a character and it carries language. There are different types of cinematic voices: dialogue, internal monologues, and voice-overs. Conventionally, two main characteristics differentiate these voices: lip synchronization and the voice's attributes that make it appropriate for the character (for example, a voice that sounds very close to the audience can be appropriate for a narrator, but not for an onscreen character). What happens, then, if a film character can only speak through an asynchronous machine that produces a 'robot-like' voice? This article discusses the sound-related work and experimentation done by the author for the short film Voice by Choice. It also attempts to discover whether speech technology design can learn from its cinematic representation, and if such uncommon film protagonists can contribute creatively to transform the conventions of cinematic voices.

  • 11. Pauletto, Sandra
    The sound design of cinematic voices2012Ingår i: The New Soundtrack, ISSN 2042-8855, E-ISSN 2042-8863, Vol. 2, nr 2, s. 127-142Artikel i tidskrift (Refereegranskat)
  • 12.
    Walldius, Åke
    Stockholm University.
    Patterns of Recollection: The Documentary Meets Digital Media2001Bok (Refereegranskat)
  • 13.
    Walldius, Åke
    KTH, Skolan för datavetenskap och kommunikation (CSC).
    Visual diaries: Revival of a Documentary Form in Digital Culture2000Ingår i: Moving Images: From Edison to the Webcam / [ed] J. Fullerton and A.S. Widding, Sydney: John Libbey , 2000Kapitel i bok, del av antologi (Refereegranskat)
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