Everything you hear on film is a lie | Tasos Frantzolas

233,398 views ใƒป 2016-11-21

TED


์•„๋ž˜ ์˜๋ฌธ์ž๋ง‰์„ ๋”๋ธ”ํด๋ฆญํ•˜์‹œ๋ฉด ์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค.

๋ฒˆ์—ญ: Hansol Ryu ๊ฒ€ํ† : Jihyeon J. Kim
00:12
I want to start by doing an experiment.
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์‹คํ—˜์„ ํ•˜๋‚˜ ํ•˜๋ฉด์„œ ์‹œ์ž‘ํ•ด ๋ณด์ฃ .
00:16
I'm going to play three videos of a rainy day.
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๋น„ ์˜ค๋Š” ๋‚  ์˜์ƒ ์„ธ ํŽธ์„ ํ‹€๊ฒ ์Šต๋‹ˆ๋‹ค.
00:20
But I've replaced the audio of one of the videos,
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๊ทธ๋Ÿฐ๋ฐ ๊ทธ ์ค‘ ํ•˜๋‚˜์˜ ์†Œ๋ฆฌ๋ฅผ
00:24
and instead of the sound of rain,
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๋น—์†Œ๋ฆฌ ๋Œ€์‹ ์—
00:27
I've added the sound of bacon frying.
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๋ฒ ์ด์ปจ์„ ๊ตฝ๋Š” ์†Œ๋ฆฌ๋กœ ๋ฐ”๊พธ์—ˆ์Šต๋‹ˆ๋‹ค.
00:31
So I want you think carefully which one the clip with the bacon is.
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์–ด๋Š ๊ฒƒ์ด ๋ฒ ์ด์ปจ ๊ตฝ๋Š” ์†Œ๋ฆฌ์ธ์ง€ ์ฃผ์˜ ๊นŠ๊ฒŒ ์ƒ๊ฐํ•ด ๋ณด์„ธ์š”.
00:35
(Rain falls)
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(๋น—์†Œ๋ฆฌ)
00:39
(Rain falls)
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(๋น—์†Œ๋ฆฌ)
00:43
(Rain falls)
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(๋น—์†Œ๋ฆฌ)
00:52
All right.
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์ข‹์Šต๋‹ˆ๋‹ค.
00:55
Actually, I lied.
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์‚ฌ์‹ค์€ ์ œ๊ฐ€ ๊ฑฐ์ง“๋ง์„ ํ–ˆ์Šต๋‹ˆ๋‹ค.
00:57
They're all bacon.
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์ „๋ถ€ ๋ฒ ์ด์ปจ์ด์—ˆ์–ด์š”.
00:58
(Bacon sizzles)
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(์ง€๊ธ€๊ฑฐ๋ฆฌ๋Š” ๋ฒ ์ด์ปจ)
01:04
(Applause)
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(๋ฐ•์ˆ˜)
01:09
My point here isn't really to make you hungry
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๋ฐฉ๊ธˆ ์‹คํ—˜์˜ ๋ชฉ์ ์€, ๋น„ ์˜ค๋Š” ์žฅ๋ฉด์„ ๋ณผ ๋•Œ๋งˆ๋‹ค
01:12
every time you see a rainy scene,
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์—ฌ๋Ÿฌ๋ถ„์„ ๋ฐฐ๊ณ ํ”„๊ฒŒ ๋งŒ๋“œ๋ ค๋Š” ๊ฒƒ์ด ์•„๋‹ˆ๊ณ 
01:14
but it's to show that our brains are conditioned to embrace the lies.
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์šฐ๋ฆฌ์˜ ๋‡Œ๊ฐ€ ๊ฑฐ์ง“์„ ์ˆ˜์šฉํ•˜๊ฒŒ ๋˜์–ด ์žˆ๋‹ค๋Š” ๊ฒƒ์„ ๋ณด์—ฌ๋“œ๋ฆฌ๋Š” ๊ฒ๋‹ˆ๋‹ค.
01:20
We're not looking for accuracy.
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์šฐ๋ฆฌ๋Š” ์ •ํ™•๋„๋ฅผ ์ถ”๊ตฌํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
01:23
So on the subject of deception,
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์ด๋ ‡๊ฒŒ ์†๋Š” ์‚ฌ๋žŒ์œผ๋กœ์„œ
01:26
I wanted to quote one of my favorite authors.
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์ œ๊ฐ€ ์ข‹์•„ํ•˜๋Š” ์ž‘๊ฐ€๋ฅผ ์ธ์šฉํ•˜๊ณ  ์‹ถ์Šต๋‹ˆ๋‹ค.
01:29
In "The Decay of Lying," Oscar Wilde establishes the idea
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์˜ค์Šค์นด ์™€์ผ๋“œ๋Š” '๊ฑฐ์ง“๋ง์˜ ์‡ ํ‡ด'์—์„œ ์ด๋Ÿฐ ๋ง์„ ํ•˜๋Š”๋ฐ์š”.
01:36
that all bad art comes from copying nature and being realistic;
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์ €์†ํ•œ ์˜ˆ์ˆ ์€ ๋ชจ๋‘ ์ž์—ฐ์„ ๋ชจ๋ฐฉํ•˜๊ณ  ์‹ค์ œ์ธ ์–‘ ํ•˜๋Š” ๋ฐ์—์„œ ์˜ค๋ฉฐ
01:43
and all great art comes from lying and deceiving,
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์œ„๋Œ€ํ•œ ์˜ˆ์ˆ ์€ ๊ฑฐ์ง“๋งํ•˜๊ณ  ์†์ด๋Š” ๋ฐ์„œ
๊ทธ๋ฆฌ๊ณ  ์•„๋ฆ„๋‹ค์šด, ์‹ค์ œ๊ฐ€ ์•„๋‹Œ ๊ฒƒ์„ ๋งํ•˜๋Š” ๋ฐ์„œ ์˜จ๋‹ค๊ณ  ํ•œ ๋ฐ” ์žˆ์Šต๋‹ˆ๋‹ค.
01:49
and telling beautiful, untrue things.
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01:52
So when you're watching a movie
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๊ทธ๋ž˜์„œ ์—ฌ๋Ÿฌ๋ถ„์ด ์˜ํ™”๋ฅผ ๋ณด๋Š” ์ค‘์—
01:56
and a phone rings,
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์ „ํ™”๊ฐ€ ์šธ๋ฆฌ๋Š” ์žฅ๋ฉด์ด ์žˆ๋”๋ผ๋„
01:58
it's not actually ringing.
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์ •๋ง๋กœ ์ „ํ™”๋ฒจ์ด ์šธ๋ฆฌ๋Š” ๊ฑด ์•„๋‹™๋‹ˆ๋‹ค.
02:00
It's been added later in postproduction in a studio.
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๋‚˜์ค‘์— ์ž‘์—…์‹ค์—์„œ ์ดฌ์˜ ํ›„ ํŽธ์ง‘ ์ž‘์—…์„ ํ•˜๋ฉด์„œ ๋„ฃ์€ ๊ฑฐ์ฃ .
02:05
All of the sounds you hear are fake.
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์—ฌ๋Ÿฌ๋ถ„์ด ๋“ฃ๋Š” ๋ชจ๋“  ์†Œ๋ฆฌ๋Š” ๊ฐ€์งœ์ž…๋‹ˆ๋‹ค.
02:08
Everything, apart from the dialogue,
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๋ชจ๋“  ์†Œ๋ฆฌ, ๋Œ€ํ™”๋ฅผ ์ œ์™ธํ•˜๋ฉด
02:09
is fake.
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๋ชจ๋“  ์†Œ๋ฆฌ๊ฐ€ ๊ฐ€์งœ์ž…๋‹ˆ๋‹ค.
02:11
When you watch a movie and you see a bird flapping its wings --
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์˜ํ™”์—์„œ ์ƒˆ๊ฐ€ ๋‚ ๊ฐฏ์ง“ํ•˜๋Š” ์žฅ๋ฉด์—์„œ๋Š”
02:14
(Wings flap)
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(ํ™ฐ ์น˜๋Š” ์†Œ๋ฆฌ)
02:18
They haven't really recorded the bird.
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์‹ค์ œ๋กœ ๋‚ ๊ฐฏ์ง“ํ•˜๋Š” ์ƒˆ๋ฅผ ๋…น์Œํ•˜๋Š” ๊ฒƒ์ด ์•„๋‹™๋‹ˆ๋‹ค.
02:20
It sounds a lot more realistic if you record a sheet
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์ข…์ด๋‚˜ ์ฃผ๋ฐฉ์šฉ ์žฅ๊ฐ‘์„ ํ”๋“ค๋ฉด ๋” ์‹ค์ œ ๊ฐ™์€ ์†Œ๋ฆฌ๋ฅผ ์–ป์„ ์ˆ˜ ์žˆ์ฃ .
02:25
or shaking kitchen gloves.
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02:27
(Flaps)
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(ํ”๋“œ๋Š” ์†Œ๋ฆฌ)
02:30
The burning of a cigarette up close --
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๋‹ด๋ฐฐ ๋์ด ํƒ€๋Š” ๊ฒƒ์„ ์•„์ฃผ ๊ฐ€๊นŒ์ด์„œ ๋ณธ ์žฅ๋ฉด์€
02:33
(Cigarette burns)
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(๋‹ด๋ฐฐ ํƒ€๋“ค์–ด๊ฐ€๋Š” ์†Œ๋ฆฌ)
02:37
It actually sounds a lot more authentic
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์‚ฌ์‹ค ์ด๋Ÿด ๋•Œ ํ›จ์”ฌ ์ง„์งœ๊ฐ™์ด ๋“ค๋ฆฝ๋‹ˆ๋‹ค.
02:40
if you take a small Saran Wrap ball
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์ฃผ๋ฐฉ์—์„œ ์‚ฌ์šฉํ•˜๋Š” ๋žฉ์„ ๋™๊ทธ๋ž—๊ฒŒ ๋ญ‰์ณค๋‹ค๊ฐ€ ๋†“์„ ๋•Œ์š”.
02:42
and release it.
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02:44
(A Saran Warp ball being released)
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(์…€๋กœํŒ์ด๋‚˜ ๋ญ‰์นœ ๋žฉ์ด ํ’€๋ฆฌ๋Š” ์†Œ๋ฆฌ)
02:47
Punches?
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์ฃผ๋จน์œผ๋กœ ์น˜๋Š” ์†Œ๋ฆฌ๋Š”์š”?
02:49
(Punch)
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(ํƒ€๊ฒฉ์Œ)
02:50
Oops, let me play that again.
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ํ•œ๋ฒˆ ๋” ๋ณผ๊ฒŒ์š”.
02:52
(Punch)
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(ํƒ€๊ฒฉ์Œ)
02:54
That's often done by sticking a knife in vegetables,
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์ด๋Ÿฐ ์†Œ๋ฆฌ๋Š” ๋ณดํ†ต ์•ผ์ฑ„์— ์นผ์„ ๊ฝ‚๋Š” ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
02:58
usually cabbage.
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๋ณดํ†ต์€ ์–‘๋ฐฐ์ถ”๋ฅผ ์“ฐ์ฃ .
03:00
(Cabbage stabbed with a knife)
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(์นผ๋กœ ์–‘๋ฐฐ์ถ”๋ฅผ ์ฐŒ๋ฅด๋Š” ์†Œ๋ฆฌ)
03:02
The next one -- it's breaking bones.
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๋‹ค์Œ์€ ๋ผˆ๊ฐ€ ๋ถ€๋Ÿฌ์ง€๋Š” ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
03:05
(Bones break)
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(๋ผˆ ๋ถ€๋Ÿฌ์ง€๋Š” ์†Œ๋ฆฌ)
03:08
Well, no one was really harmed.
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์Œ, ์‹ค์ œ๋กœ ๋‹ค์นœ ์‚ฌ๋žŒ์€ ์•„๋ฌด๋„ ์—†์Šต๋‹ˆ๋‹ค.
03:11
It's actually ...
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์ด๊ฑด ์‚ฌ์‹ค
03:13
breaking celery or frozen lettuce.
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์…€๋Ÿฌ๋ฆฌ๋‚˜ ์–ผ๋ฆฐ ์ƒ์ถ”๋ฅผ ๋ถ€๋Ÿฌ๋œจ๋ฆฌ๋Š” ์†Œ๋ฆฌ์ฃ .
[์–ผ๋ฆฐ ์ƒ์ถ”๋‚˜ ์…€๋Ÿฌ๋ฆฌ ๋ถ€๋Ÿฌ๋œจ๋ฆฌ๋Š” ์†Œ๋ฆฌ] [๋ธŒ๋ฃจํด๋ฆฐ์—์„œ๋Š” ์ผ€์ผ์„ ์จ์š”]
03:16
(Breaking frozen lettuce or celery)
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03:18
(Laughter)
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(์›ƒ์Œ)
03:21
Making the right sounds is not always as easy
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์•Œ๋งž์€ ์†Œ๋ฆฌ๋ฅผ ๋งŒ๋“œ๋Š” ์ผ์ด ํ•ญ์ƒ ๊ทธ๋ฆฌ ์‰ฌ์šด ๊ฒƒ์€ ์•„๋‹™๋‹ˆ๋‹ค.
03:25
as a trip to the supermarket
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์Šˆํผ๋งˆ์ผ“์— ๊ฐ€์„œ
03:27
and going to the vegetable section.
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์•ผ์ฑ„ ์ง„์—ด๋Œ€์— ๊ฐ€๋Š” ์ผ ์ •๋„๊ฐ€ ์•„๋‹ˆ์ฃ .
03:30
But it's often a lot more complicated than that.
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๊ทธ๋ณด๋‹ค๋Š” ํ›จ์”ฌ ๋ณต์žกํ•œ ์ผ์ผ ๋•Œ๊ฐ€ ๋งŽ์•„์š”.
03:33
So let's reverse-engineer together
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์Œํ–ฅ ํšจ๊ณผ๋ฅผ ์–ด๋–ป๊ฒŒ ๋งŒ๋“œ๋Š”์ง€
03:36
the creation of a sound effect.
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์„ค๊ณ„ ๊ณผ์ •์„ ํ•œ๋ฒˆ ์—ญ์œผ๋กœ ์ถ”์ ํ•ด ๋ด…์‹œ๋‹ค.
03:38
One of my favorite stories comes from Frank Serafine.
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์ œ๊ฐ€ ์ œ์ผ ์ข‹์•„ํ•˜๋Š” ์ด์•ผ๊ธฐ ํ•˜๋‚˜๋Š” ํ”„๋žญํฌ ์„ธ๋ผํ•€์˜ ์ด์•ผ๊ธฐ์ž…๋‹ˆ๋‹ค.
03:41
He's a contributor to our library,
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๊ทธ๋Š” ์šฐ๋ฆฌ ์Œํ–ฅ ๋ผ์ด๋ธŒ๋Ÿฌ๋ฆฌ๋ฅผ ํ’์„ฑํ•˜๊ฒŒ ํ•˜๋Š” ์‚ฌ๋žŒ์ด๊ณ 
03:43
and a great sound designer for "Tron" and "Star Trek" and others.
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'ํŠธ๋ก '๊ณผ '์Šคํƒ€ ํŠธ๋ž™' ๋“ฑ์˜ ์Œํ–ฅ์„ ๋‹ด๋‹นํ•œ ๋Œ€๋‹จํ•œ ์Œํ–ฅ ๋””์ž์ด๋„ˆ์ž…๋‹ˆ๋‹ค.
03:48
He was part of the Paramount team that won the Oscar for best sound
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋Š” ์˜ํ™” '๋ถ‰์€ 10์›”'๋กœ ์˜ค์Šค์นด ์Œํ–ฅ ์ƒ์„ ์ˆ˜์ƒํ•œ
03:53
for "The Hunt for Red October."
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ํŒŒ๋ผ๋งˆ์šดํŠธ ํŒ€์˜ ์ผ์›์ด์—ˆ์Šต๋‹ˆ๋‹ค.
03:55
In this Cold War classic, in the '90s,
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90๋…„๋Œ€์— ์ด ๋ƒ‰์ „ ์‹œ๋Œ€ ์˜ํ™”๋ฅผ ๋งŒ๋“ค๋ฉด์„œ
03:58
they were asked to produce the sound of the propeller of the submarine.
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๊ทธ๋“ค์€ ์ž ์ˆ˜ํ•จ์˜ ํ”„๋กœํŽ ๋Ÿฌ ์†Œ๋ฆฌ๋ฅผ ๋งŒ๋“ค์–ด ๋‹ฌ๋ผ๋Š” ์š”์ฒญ์„ ๋ฐ›์•˜์Šต๋‹ˆ๋‹ค.
04:03
So they had a small problem:
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๊ทธ๋Ÿฐ๋ฐ ์ž‘์€ ๋ฌธ์ œ๊ฐ€ ์žˆ์—ˆ์ฃ .
04:05
they couldn't really find a submarine in West Hollywood.
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์›จ์ŠคํŠธ ํ• ๋ฆฌ์šฐ๋“œ์—์„œ ์‹ค์ œ ์ž ์ˆ˜ํ•จ์„ ์ฐพ์„ ์ˆ˜ ์—†์—ˆ๋˜ ๊ฑฐ์ฃ .
04:08
So basically, what they did is,
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๊ทธ๋ž˜์„œ ๊ทธ๋“ค์ด ํ•œ ์ผ์€, ๊ธฐ๋ณธ์ ์œผ๋กœ
04:12
they went to a friend's swimming pool,
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์นœ๊ตฌ์˜ ์ˆ˜์˜์žฅ์„ ์ฐพ์•„๊ฐ€์„œ
04:15
and Frank performed a cannonball, or bomba.
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ํ”„๋žญํฌ๊ฐ€ ๋ชธ์„ ๋‘ฅ๊ธ€๊ฒŒ ๋ง๊ณ  ๋ฌผ์— ๋›ฐ์–ด๋“  ๊ฒ๋‹ˆ๋‹ค.
04:21
They placed an underwater mic
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๊ทธ๋“ค์€ ์ˆ˜์ค‘ ๋งˆ์ดํฌ์™€
04:23
and an overhead mic outside the swimming pool.
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์ˆ˜์˜์žฅ ๋ฐ”๊นฅ์ชฝ์— ์˜ค๋ฒ„ํ—ค๋“œ ๋งˆ์ดํฌ๋ฅผ ์„ค์น˜ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:26
So here's what the underwater mic sounds like.
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์ˆ˜์ค‘ ๋งˆ์ดํฌ์—์„œ ๋…น์Œํ•œ ์†Œ๋ฆฌ๋Š” ๋‹ค์Œ๊ณผ ๊ฐ™์Šต๋‹ˆ๋‹ค.
04:29
(Underwater plunge)
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(๋ฌผ ๋ฐ‘์—์„œ ๋…น์Œํ•œ ๋›ฐ์–ด๋“œ๋Š” ์†Œ๋ฆฌ)
04:31
Adding the overhead mic,
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์˜ค๋ฒ„ํ—ค๋“œ ๋งˆ์ดํฌ์˜ ์Œํ–ฅ์„ ๋”ํ•˜๋ฉด
04:33
it sounded a bit like this:
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์ด๋Ÿฐ ์‹์œผ๋กœ ๋“ค๋ฆฝ๋‹ˆ๋‹ค.
04:35
(Water splashes)
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(๋ฌผ ํŠ€๋Š” ์†Œ๋ฆฌ)
04:37
So now they took the sound and pitched it one octave down,
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๊ทธ๋“ค์€ ์ด๋ ‡๊ฒŒ ์–ป์€ ์†Œ๋ฆฌ๋ฅผ ํ•œ ์˜ฅํƒ€๋ธŒ ๋‚ฎ๊ฒŒ ์กฐ์ •ํ–ˆ์Šต๋‹ˆ๋‹ค.
04:41
sort of like slowing down a record.
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๋…น์Œํ•œ ๊ฒƒ์„ ์ฒœ์ฒœํžˆ ํŠธ๋Š” ๊ฒƒ๊ณผ ๋น„์Šทํ•œ ๊ฒ๋‹ˆ๋‹ค.
04:44
(Water splashes at lower octave)
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(๋‚ฎ์€ ์˜ฅํƒ€๋ธŒ์—์„œ ๋ฌผ ํŠ€๋Š” ์†Œ๋ฆฌ)
04:47
And then they removed a lot of the high frequencies.
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๊ทธ๋ฆฌ๊ณ  ๊ณ ์ฃผํŒŒ ์„ฑ๋ถ„์„ ๋งŽ์ด ์—†์•ด์Šต๋‹ˆ๋‹ค.
04:50
(Water splashes)
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(๋ฌผ ํŠ€๋Š” ์†Œ๋ฆฌ)
04:53
And pitched it down another octave.
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๊ทธ๋ฆฌ๊ณ  ํ•œ ์˜ฅํƒ€๋ธŒ ๋” ๋‚ฎ์ถ”์—ˆ์Šต๋‹ˆ๋‹ค.
04:56
(Water splashes at lower octave)
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(๋‚ฎ์€ ์˜ฅํƒ€๋ธŒ์—์„œ ๋ฌผ ํŠ€๋Š” ์†Œ๋ฆฌ)
04:58
And then they added a little bit of the splash
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๊ทธ ๋‹ค์Œ ์˜ค๋ฒ„ํ—ค๋“œ ๋งˆ์ดํฌ๋กœ ๋…น์Œํ•œ ๋ฌผ ํŠ€๋Š” ์†Œ๋ฆฌ๋ฅผ
05:01
from the overhead microphone.
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์กฐ๊ธˆ ์ถ”๊ฐ€ํ–ˆ์Šต๋‹ˆ๋‹ค.
05:03
(Water splashes)
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(๋ฌผ ํŠ€๋Š” ์†Œ๋ฆฌ)
05:06
And by looping and repeating that sound,
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๊ทธ๋ฆฌ๊ณ  ๊ทธ ์†Œ๋ฆฌ๋ฅผ ๋ฐ˜๋ณตํ•จ์œผ๋กœ์จ
๊ทธ๋“ค์€ ์ด๋Ÿฐ ์†Œ๋ฆฌ๋ฅผ ์–ป์—ˆ์Šต๋‹ˆ๋‹ค.
05:09
they got this:
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05:10
(Propeller churns)
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(ํ”„๋กœํŽ ๋Ÿฌ ๋„๋Š” ์†Œ๋ฆฌ)
05:16
So, creativity and technology put together in order to create the illusion
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ, ์ฐฝ์กฐ์„ฑ๊ณผ ๊ธฐ์ˆ ์„ ํ•จ๊ป˜ ์‚ฌ์šฉํ•จ์œผ๋กœ์จ
์šฐ๋ฆฌ๊ฐ€ ์ž ์ˆ˜ํ•จ ์•ˆ์— ์žˆ๋‹ค๋Š” ํ™˜์ƒ์„ ๋งŒ๋“ค์–ด๋‚ธ ๊ฑฐ์ฃ .
05:23
that we're inside the submarine.
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05:26
But once you've created your sounds
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ํ•˜์ง€๋งŒ ์Œํ–ฅ์„ ๋งŒ๋“ค์–ด๋‚ด๊ณ 
05:30
and you've synced them to the image,
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์˜์ƒ์— ๊ทธ๊ฒƒ์„ ๋งž์ถ”์—ˆ๋‹ค๋ฉด
05:32
you want those sounds to live in the world of the story.
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๊ทธ ์†Œ๋ฆฌ๊ฐ€ ์ด์•ผ๊ธฐ์˜ ์„ธ๊ณ„์—์„œ ์ƒ์ƒํ•˜๊ฒŒ ๋“ค๋ ค์•ผ๊ฒ ์ฃ .
05:37
And one the best ways to do that is to add reverb.
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๊ทธ๋ฆฌ๊ณ  ์ด๋ฅผ ์œ„ํ•œ ์ตœ์„ ์˜ ๋ฐฉ๋ฒ• ์ค‘ ํ•˜๋‚˜๋Š” ๋ฐ˜ํ–ฅ ํšจ๊ณผ๋ฅผ ๋„ฃ๋Š” ๊ฒ๋‹ˆ๋‹ค.
05:41
So this is the first audio tool I want to talk about.
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์ด๊ฒƒ์ด ์ œ๊ฐ€ ๋ง์”€ ๋“œ๋ฆฌ๋ ค๋Š” ์ฒซ ๋ฒˆ์งธ ์Œํ–ฅ ๋„๊ตฌ์ž…๋‹ˆ๋‹ค.
05:45
Reverberation, or reverb, is the persistence of the sound
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๋ฐ˜ํ–ฅ ํšจ๊ณผ๋Š” ์›๋ž˜ ์†Œ๋ฆฌ๊ฐ€ ์—†์–ด์ง„ ํ›„์—
05:50
after the original sound has ended.
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๋‚จ์•„์žˆ๋Š” ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
05:52
So it's sort of like the --
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์ด๋Ÿฐ ๊ฑฐ์˜ˆ์š”.
05:54
all the reflections from the materials,
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์†Œ๋ฆฌ๋ฅผ ๋‘˜๋Ÿฌ์‹ธ๊ณ  ์žˆ๋Š” ๋ชจ๋“  ๋ฌผ์งˆ
05:57
the objects and the walls around the sound.
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๋ฌผ์ฒด์™€ ๋ฒฝ์—์„œ ๋ฐ˜ํ–ฅ๋˜๋Š” ์†Œ๋ฆฌ์š”.
06:00
Take, for example, the sound of a gunshot.
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์˜ˆ๋ฅผ ๋“ค์–ด ์ด์†Œ๋ฆฌ๋ฅผ ์ƒ๊ฐํ•ด ๋ด…์‹œ๋‹ค.
06:03
The original sound is less than half a second long.
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์›๋ž˜ ์†Œ๋ฆฌ๋Š” 0.5์ดˆ ์ •๋„ ๋ฐ–์— ์•ˆ ๋ฉ๋‹ˆ๋‹ค.
06:08
(Gunshot)
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(์ด์†Œ๋ฆฌ)
06:09
By adding reverb,
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๋ฐ˜ํ–ฅ ํšจ๊ณผ๋ฅผ ๋„ฃ์Œ์œผ๋กœ์จ
06:11
we can make it sound like it was recorded inside a bathroom.
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์šฐ๋ฆฌ๋Š” ์ด์†Œ๋ฆฌ๊ฐ€ ๋งˆ์น˜ ์š•์‹ค ์•ˆ์—์„œ ๋…น์Œ๋œ ๊ฒƒ์ฒ˜๋Ÿผ ๋งŒ๋“ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
06:15
(Gunshot reverbs in bathroom)
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(์š•์‹ค์—์„œ ๋ฐ˜ํ–ฅ๋˜๋Š” ์ด์†Œ๋ฆฌ)
06:17
Or like it was recorded inside a chapel or a church.
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ํ˜น์€ ์˜ˆ๋ฐฐ๋‹น์ด๋‚˜ ๊ตํšŒ์—์„œ ๋…น์Œ๋œ ๊ฒƒ ์ฒ˜๋Ÿผ๋„ ํ•  ์ˆ˜ ์žˆ์ฃ .
06:20
(Gunshot reverbs church)
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(๊ตํšŒ์—์„œ ๋ฐ˜ํ–ฅ๋˜๋Š” ์ด์†Œ๋ฆฌ)
06:23
Or in a canyon.
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ํ˜น์€ ๊ณ„๊ณก์—์„œ์š”.
06:26
(Gunshot reverbs in canyon)
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(๊ณ„๊ณก์—์„œ ๋ฐ˜ํ–ฅ๋˜๋Š” ์ด์†Œ๋ฆฌ)
06:27
So reverb gives us a lot of information
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ๋ฐ˜ํ–ฅ๋˜๋Š” ์†Œ๋ฆฌ๋Š”, ์‹ค์ œ ์Œ์›๊ณผ ๋“ฃ๋Š” ์‚ฌ๋žŒ ์‚ฌ์ด์˜
06:30
about the space between the listener and the original sound source.
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๊ณต๊ฐ„์— ๋Œ€ํ•œ ๋งŽ์€ ์ •๋ณด๋ฅผ ์ „๋‹ฌํ•ฉ๋‹ˆ๋‹ค.
06:35
If the sound is the taste,
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๋งŒ์•ฝ ์†Œ๋ฆฌ๊ฐ€ ๋ง›์ด๋ผ๋ฉด
06:37
then reverb is sort of like the smell of the sound.
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๋ฐ˜ํ–ฅ ํšจ๊ณผ๋Š” ๋งˆ์น˜ ์†Œ๋ฆฌ์˜ ๋ƒ„์ƒˆ์™€ ๊ฐ™์Šต๋‹ˆ๋‹ค.
06:42
But reverb can do a lot more.
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ํ•˜์ง€๋งŒ ๋ฐ˜ํ–ฅ ํšจ๊ณผ๋กœ ๋” ๋งŽ์€ ๊ฒƒ์„ ํ•  ์ˆ˜ ์žˆ์ฃ .
06:44
Listening to a sound with a lot less reverberation
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ํ™”๋ฉด์—์„œ ๋ณด์ด๋Š” ๊ฒƒ๋ณด๋‹ค
๋ฐ˜ํ–ฅ ํšจ๊ณผ๊ฐ€ ํ™•์—ฐํ•˜๊ฒŒ ์ค„์–ด๋“  ์†Œ๋ฆฌ๋ฅผ ๋“ค์œผ๋ฉด
06:48
than the on-screen action
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06:50
is going to immediately signify to us
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๊ทธ๊ฒƒ์€ ์ฆ‰์‹œ ์šฐ๋ฆฌ์—๊ฒŒ
์šฐ๋ฆฌ๊ฐ€ ํ•ด์„ค์ž์˜ ์ด์•ผ๊ธฐ, ํ™”๋ฉด์— ๋ณด์ด๋Š” ์žฅ๋ฉด์— ์ฐธ๊ฐ€ํ•˜๊ณ  ์žˆ์ง€ ์•Š์€
06:53
that we're listening to a commentator,
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06:56
to an objective narrator that's not participating in the on-screen action.
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๊ฐ๊ด€์  ์„œ์ˆ ์ž์˜ ์ด์•ผ๊ธฐ๋ฅผ ๋“ฃ๊ณ  ์žˆ๋‹ค๋Š” ์ธ์ƒ์„ ์ค๋‹ˆ๋‹ค.
07:02
Also, emotionally intimate moments in cinema
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๊ทธ๋ฆฌ๊ณ  ์˜ํ™”์—์„œ ๊ฐ์ •์ ์œผ๋กœ ์นœ๋ฐ€ํ•œ ์žฅ๋ฉด์€
07:06
are often heard with zero reverb,
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๋Œ€๋ถ€๋ถ„ ๋ฐ˜ํ–ฅ ํšจ๊ณผ ์—†์ด ์ „๋‹ฌ๋˜๋Š”๋ฐ
07:08
because that's how it would sound if someone was speaking inside our ear.
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๋ˆ„๊ตฐ๊ฐ€ ์šฐ๋ฆฌ ๊ท“์†์— ์ด์•ผ๊ธฐํ•  ๋•Œ ๋“ค๋ฆฌ๋Š” ๋ฐฉ์‹์ด ๊ทธ๋Ÿฌํ•˜๊ธฐ ๋•Œ๋ฌธ์ž…๋‹ˆ๋‹ค.
07:13
On the completely other side,
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์™„์ „ํžˆ ๋‹ค๋ฅธ ์ธก๋ฉด์—์„œ
07:15
adding a lot of reverb to a voice
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์†Œ๋ฆฌ์— ๋งŽ์€ ๋ฐ˜ํ–ฅ ํšจ๊ณผ๋ฅผ ๋„ฃ์œผ๋ฉด
07:17
is going to make us think that we're listening to a flashback,
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์šฐ๋ฆฌ๊ฐ€ ํšŒ์ƒ ์žฅ๋ฉด์„ ๋“ฃ๊ณ  ์žˆ๋‹ค๋Š” ์ธ์ƒ์„ ์ค๋‹ˆ๋‹ค.
07:21
or perhaps that we're inside the head of a character
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ํ˜น์€ ๋งˆ์น˜ ์šฐ๋ฆฌ๊ฐ€ ์ธ๋ฌผ์˜ ๋งˆ์Œ ์† ์ด์•ผ๊ธฐ๋ฅผ ๋“ฃ๊ณ  ์žˆ๊ฑฐ๋‚˜
07:25
or that we're listening to the voice of God.
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์‹ ์˜ ์Œ์„ฑ์„ ๋“ฃ๊ณ  ์žˆ๋‹ค๋Š” ์ธ์ƒ์„ ์ฃผ์ฃ .
07:28
Or, even more powerful in film,
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ํ˜น์€ ์˜ํ™”์—์„œ๋Š” ๋” ์˜ํ–ฅ๋ ฅ ์žˆ๋Š”
07:30
Morgan Freeman.
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๋ชจ๊ฑด ํ”„๋ฆฌ๋จผ์˜ ์Œ์„ฑ์ด๊ฑฐ๋‚˜์š”.
07:32
(Laughter)
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(์›ƒ์Œ)
07:33
So --
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๊ทธ๋ž˜์„œ
07:34
(Applause)
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(๋ฐ•์ˆ˜)
07:37
But what are some other tools or hacks
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๊ทธ๋Ÿฐ๋ฐ ์Œํ–ฅ ๋””์ž์ด๋„ˆ๋“ค์ด ์‚ฌ์šฉํ•˜๋Š”
07:41
that sound designers use?
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๋‹ค๋ฅธ ๋„๊ตฌ๋‚˜ ๋ฐฉ์‹์—๋Š” ๋ฌด์—‡์ด ์žˆ์„๊นŒ์š”?
07:44
Well, here's a really big one.
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์ •๋ง ์ค‘์š”ํ•œ ๊ฒƒ์ด ํ•˜๋‚˜ ์žˆ์Šต๋‹ˆ๋‹ค.
07:51
It's silence.
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๋ฐ”๋กœ ์นจ๋ฌต์ž…๋‹ˆ๋‹ค.
07:53
A few moments of silence is going to make us pay attention.
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๋ช‡ ์ดˆ๊ฐ„์˜ ์นจ๋ฌต์€ ์šฐ๋ฆฌ๋ฅผ ์ง‘์ค‘ํ•˜๊ฒŒ ๋งŒ๋“ญ๋‹ˆ๋‹ค.
07:57
And in the Western world,
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๊ทธ๋ฆฌ๊ณ  ์„œ์–‘ ์„ธ๊ณ„์—์„œ๋Š”
08:00
we're not really used to verbal silences.
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์šฐ๋ฆฌ๋Š” ๋Œ€ํ™” ์ค‘ ์นจ๋ฌต์— ์ต์ˆ™ํ•˜์ง€ ์•Š์ฃ .
08:02
They're considered awkward or rude.
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๊ทธ๊ฑธ ์ด์ƒํ•˜๊ฑฐ๋‚˜ ๋ฌด๋ก€ํ•˜๋‹ค๊ณ  ์—ฌ๊น๋‹ˆ๋‹ค.
08:06
So silence preceding verbal communication
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๊ทธ๋ž˜์„œ ์–ธ์–ด์  ๋Œ€ํ™” ์ด์ „์˜ ์นจ๋ฌต์€
08:11
can create a lot of tension.
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๊ธด์žฅ๊ฐ์„ ๊ณ ์กฐ์‹œํ‚ต๋‹ˆ๋‹ค.
08:13
But imagine a really big Hollywood movie,
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๊ทธ๋Ÿฐ๋ฐ ํญ๋ฐœ๊ณผ ์ž๋™ ์†Œ์ด ์†Œ๋ฆฌ๋กœ ๊ฐ€๋“ํ•œ
08:16
where it's full of explosions and automatic guns.
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๋Œ€ํ˜• ํ• ๋ฆฌ์šฐ๋“œ ์˜ํ™”๋ฅผ ์ƒ์ƒํ•ด ๋ณด์„ธ์š”.
08:22
Loud stops being loud anymore, after a while.
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์–ผ๋งˆ๊ฐ„ ์‹œ๊ฐ„์ด ์ง€๋‚˜๋ฉด ํฐ ์†Œ๋ฆฌ๋Š” ๋”์ด์ƒ ํฐ ์†Œ๋ฆฌ๊ฐ€ ์•„๋‹ˆ๊ฒŒ ๋  ๊ฒ๋‹ˆ๋‹ค.
08:26
So in a yin-yang way,
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๊ทธ๋Ÿฌ๋‹ˆ๊นŒ ์Œ์–‘์˜ ์กฐํ™” ๊ด€์ ์—์„œ
08:27
silence needs loudness and loudness needs silence
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์นจ๋ฌต์€ ์‹œ๋„๋Ÿฌ์›€์ด, ์‹œ๋„๋Ÿฌ์›€์€ ์นจ๋ฌต์ด ์žˆ์–ด์•ผ
08:31
for either of them to have any effect.
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์–ด๋–ค ํšจ๊ณผ๋“  ๊ฐ€์งˆ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
08:34
But what does silence mean?
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๊ทธ๋ ‡์ง€๋งŒ ์นจ๋ฌต์ด๋ž€ ๋ฌด์—‡์ผ๊นŒ์š”?
08:35
Well, it depends how it's used in each film.
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๊ทธ๊ฑด ๊ฐ ์˜ํ™”์—์„œ ์–ด๋–ป๊ฒŒ ์“ฐ์ด๋Š” ์ง€์— ๋”ฐ๋ผ ๋‹ค๋ฆ…๋‹ˆ๋‹ค.
08:39
Silence can place us inside the head of a character
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์นจ๋ฌต์€ ์šฐ๋ฆฌ๋ฅผ ์ธ๋ฌผ์˜ ๋จธ๋ฆฟ์†์œผ๋กœ ๋“ค์—ฌ๋†“๊ธฐ๋„ ํ•˜๊ณ 
08:42
or provoke thought.
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์–ด๋–ค ์ƒ๊ฐ์ด ๋‚˜๊ฒŒ ํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
08:44
We often relate silences with ...
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์šฐ๋ฆฌ๋Š” ๋ณดํ†ต ์นจ๋ฌต์„
08:48
contemplation,
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์‚ฌ์ƒ‰์ด๋‚˜
08:50
meditation,
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๋ช…์ƒ
08:53
being deep in thought.
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๊นŠ์€ ์ƒ๊ฐ๊ณผ ์—ฐ๊ด€ ์ง“์ฃ .
08:56
But apart from having one meaning,
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ํ•˜์ง€๋งŒ ํ•œ ๊ฐ€์ง€ ๋œป์„ ๊ฐ€์ง€๋Š” ๊ฒƒ์—์„œ ๋ฒ—์–ด๋‚˜
08:59
silence becomes a blank canvas
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์นจ๋ฌต์€ ๋นˆ ํ™”ํญ๊ณผ ๊ฐ™์•„์„œ
09:01
upon which the viewer is invited to the paint their own thoughts.
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๊ฐ์ƒ์ž๊ฐ€ ์ž์‹ ์˜ ์ƒ๊ฐ์„ ๊ทธ๋ ค๋„ฃ๊ฒŒ ํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
09:06
But I want to make it clear: there is no such thing as silence.
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ํ•˜์ง€๋งŒ ํ•œ๊ฐ€์ง€ ๋ถ„๋ช…ํžˆ ํ•˜๊ณ  ์‹ถ์€ ๊ฒƒ์€, ์™„์ „ํ•œ ์นจ๋ฌต์ด๋ž€ ์—†๋‹ค๋Š” ๊ฒ๋‹ˆ๋‹ค.
09:11
And I know this sounds like the most pretentious TED Talk statement ever.
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TED ๊ฐ•์—ฐ์—์„œ ๊ฐ€์žฅ ํ—ˆ์„ธ ๋„˜์น˜๋Š” ๋ง๋กœ ๋“ค๋ฆด ์ˆ˜๋„ ์žˆ๋‹ค๋Š” ๊ฑธ ์•Œ์ง€๋งŒ
09:16
But even if you were to enter a room with zero reverberation
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์–ด๋–ค ๋ฐ˜ํ–ฅ์Œ์ด๋‚˜ ์™ธ๋ถ€ ์†Œ๋ฆฌ๋„ ์—†๋Š” ๋ฐฉ์— ๋“ค์–ด๊ฐ€๋”๋ผ๋„
09:22
and zero external sounds,
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09:24
you would still be able to hear the pumping of your own blood.
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์—ฌ๋Ÿฌ๋ถ„์€ ์—ฌ์ „ํžˆ ํ˜ˆ์•ก ์ˆœํ™˜์„ ์œ„ํ•œ ๋ฐ•๋™ ์†Œ๋ฆฌ๋ฅผ ๋“ค์„ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
09:28
And in cinema, traditionally, there was never a silent moment
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๊ทธ๋ฆฌ๊ณ  ๊ทน์žฅ์—์„œ๋Š”, ์ „ํ†ต์ ์œผ๋กœ ์นจ๋ฌต์˜ ์ˆœ๊ฐ„์ด๋ž€ ํ•œ๋ฒˆ๋„ ์—†์—ˆ์Šต๋‹ˆ๋‹ค.
09:32
because of the sound of the projector.
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์˜์‚ฌ๊ธฐ ์†Œ๋ฆฌ ๋•Œ๋ฌธ์—์š”.
09:34
And even in today's Dolby world,
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์‹ฌ์ง€์–ด ๋Œ๋น„ ์˜ค๋””์˜ค์™€ ๊ฐ™์€ ๊ณ ๊ธ‰ ๊ธฐ์ˆ ์„ ์‚ฌ์šฉํ•˜๋Š” ์˜ค๋Š˜๋‚ ์—๋„
09:38
there's not really any moment of silence if you listen around you.
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์ฃผ๋ณ€์˜ ์†Œ๋ฆฌ๋ฅผ ๋“ค์–ด๋ณด์‹œ๋ฉด ์ง„์ •ํ•œ ์นจ๋ฌต์˜ ์ˆœ๊ฐ„์€ ์—†์Šต๋‹ˆ๋‹ค.
09:42
There's always some sort of noise.
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์ฃผ๋ณ€์— ํ•ญ์ƒ ์–ด๋–ค ์ข…๋ฅ˜์ด๋“  ์†Œ์Œ์€ ์žˆ๊ฒŒ ๋งˆ๋ จ์ด๋‹ˆ๊นŒ์š”.
09:44
Now, since there's no such thing as silence,
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๊ทธ๋ ‡๋‹ค๋ฉด, ์ง„์ •ํ•œ ์นจ๋ฌต์ด๋ž€ ์—†๋‹ค๊ณ  ํ•œ๋‹ค๋ฉด
09:47
what do filmmakers and sound designers use?
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์˜ํ™” ์ œ์ž‘์ž๊ณผ ์Œํ–ฅ ๋””์ž์ด๋„ˆ๋“ค์€ ์–ด๋–ค ๋ฐฉ๋ฒ•์„ ์‚ฌ์šฉํ• ๊นŒ์š”?
09:51
Well, as a synonym, they often use ambiences.
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๋„ค, ๋น„์Šทํ•œ ์˜๋ฏธ๋กœ ์•ฐ๋น„์–ธ์Šค๋ฅผ ์‚ฌ์šฉํ•ฉ๋‹ˆ๋‹ค.
09:56
Ambiences are the unique background sounds
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์•ฐ๋น„์–ธ์Šค๋ž€, ๊ฐ ์žฅ์†Œ์— ํŠน์ •๋˜๋Š”
10:00
that are specific to each location.
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๊ณ ์œ ์˜ ๋ฐฐ๊ฒฝ ์†Œ๋ฆฌ๋ฅผ ๋œปํ•ฉ๋‹ˆ๋‹ค.
10:03
Each location has a unique sound,
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๋ชจ๋“  ์žฅ์†Œ๊ฐ€ ๊ณ ์œ ์˜ ์†Œ๋ฆฌ๋ฅผ ์ง€๋‹ˆ๊ณ  ์žˆ๊ณ 
10:05
and each room has a unique sound,
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๋ชจ๋“  ๋ฐฉ์— ๊ณ ์œ ์˜ ์†Œ๋ฆฌ๊ฐ€ ์žˆ์Šต๋‹ˆ๋‹ค.
10:07
which is called room tone.
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๋ฃธ ํ†ค์ด๋ผ๊ณ  ๋ถˆ๋ฆฌ์ฃ .
10:08
So here's a recording of a market in Morocco.
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๋ชจ๋กœ์ฝ”์˜ ์‹œ์žฅ์—์„œ ๋…น์Œํ•œ ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
10:11
(Voices, music)
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(๋ชฉ์†Œ๋ฆฌ์™€ ์Œ์•…)
10:17
And here's a recording of Times Square in New York.
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์ด๋ฒˆ์—๋Š” ๋‰ด์š• ํƒ€์ž„ ์Šคํ€˜์–ด์—์„œ ๋…น์Œํ•œ ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
10:20
(Traffic sounds, car horns, voices)
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(์ฐจ๋Ÿ‰ ์†Œ์Œ, ์ž๋™์ฐจ ๊ฒฝ์ , ๋ชฉ์†Œ๋ฆฌ)
10:27
Room tone is the addition of all the noises inside the room:
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๋ฃธ ํ†ค์€ ๊ทธ ๊ณต๊ฐ„ ์†์— ์žˆ๋Š” ๋ชจ๋“  ์†Œ์Œ์˜ ์ด์ฒด์ž…๋‹ˆ๋‹ค.
10:31
the ventilation, the heating, the fridge.
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ํ™˜ํ’๊ธฐ, ๋‚œ๋ฐฉ ์žฅ์น˜, ๋ƒ‰์žฅ๊ณ  ๋“ฑ์ด์š”.
10:33
Here's a recording of my apartment in Brooklyn.
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๋ธŒ๋ฃจํด๋ฆฐ์— ์žˆ๋Š” ์ œ ์•„ํŒŒํŠธ์—์„œ ๋…น์Œํ•œ ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
10:36
(You can hear the ventilation, the boiler, the fridge and street traffic)
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[ํ™˜ํ’๊ธฐ, ๋ณด์ผ๋Ÿฌ, ๋ƒ‰์žฅ๊ณ  ์†Œ๋ฆฌ์™€ ์ฐจ๋Ÿ‰ ์†Œ์Œ์„ ๋“ค์œผ์‹ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค]
10:47
Ambiences work in a most primal way.
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์•ฐ๋น„์–ธ์Šค๋Š” ๊ฐ€์žฅ ๊ทผ์›์ ์ธ ๋ฐฉ์‹์œผ๋กœ ๊ธฐ๋Šฅํ•ฉ๋‹ˆ๋‹ค.
10:52
They can speak directly to our brain subconsciously.
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๊ทธ๊ฒƒ์€ ์šฐ๋ฆฌ ๋‡Œ์— ์ž ์žฌ์˜์‹์˜ ๋ฐฉ์‹์œผ๋กœ ์ง์ ‘ ๋ง์„ ๊ฑธ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
10:56
So, birds chirping outside your window may indicate normality,
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์ฆ‰ ์ฐฝ๋ฐ–์—์„œ ์ƒˆ๊ฐ€ ์ง€์ €๊ท€๋Š” ์†Œ๋ฆฌ๋Š” ์ผ์ƒ์„ฑ์„ ๋‚˜ํƒ€๋‚ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
11:02
perhaps because, as a species,
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์–ด์ฉŒ๋ฉด ์ธ๋ฅ˜๋ผ๋Š” ์ข…์œผ๋กœ์„œ
11:05
we've been used to that sound every morning for millions of years.
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์šฐ๋ฆฌ๋Š” ์ˆ˜๋ฐฑ๋งŒ ๋…„์˜ ์•„์นจ ๋™์•ˆ ๊ทธ ์†Œ๋ฆฌ๋ฅผ ๋“ค์–ด์™”์„ ์ง€๋„ ๋ชจ๋ฆ…๋‹ˆ๋‹ค.
11:10
(Birds chirp)
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(์ƒˆ ์ง€์ €๊ท€๋Š” ์†Œ๋ฆฌ)
11:17
On the other hand, industrial sounds have been introduced to us
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ํ•œํŽธ, ์‚ฐ์—…๊ณผ ๊ด€๋ จ๋œ ์†Œ๋ฆฌ๋Š” ์šฐ๋ฆฌ์—๊ฒŒ ๋น„๊ต์ 
11:21
a little more recently.
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์ตœ๊ทผ์— ๋„์ž…๋œ ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
11:23
Even though I really like them personally --
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์ €๋Š” ๊ฐœ์ธ์ ์œผ๋กœ ๊ทธ ์†Œ๋ฆฌ๋ฅผ ์ข‹์•„ํ•˜์ง€๋งŒ
11:26
they've been used by one of my heroes, David Lynch,
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์ €์˜ ์˜์›… ์ค‘ ํ•œ ๋ช…์ธ ๋ฐ์ด๋น„๋“œ ๋ฆฐ์น˜์™€
11:28
and his sound designer, Alan Splet --
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๊ทธ์˜ ์Œํ–ฅ ๋””์ž์ด๋„ˆ ์•Œ๋ž€ ์Šคํ”Œ๋žซ์€
11:30
industrial sounds often carry negative connotations.
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์‚ฐ์—…๊ณผ ๊ด€๋ จ๋œ ์†Œ๋ฆฌ๋ฅผ ๋ถ€์ •์  ํ•จ์ถ•์„ ์ „๋‹ฌํ•˜๋Š” ๋ฐ์— ์‚ฌ์šฉํ–ˆ์Šต๋‹ˆ๋‹ค.
11:33
(Machine noises)
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(๊ธฐ๊ณ„ ์†Œ์Œ)
11:40
Now, sound effects can tap into our emotional memory.
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์Œํ–ฅ ํšจ๊ณผ๋Š” ์šฐ๋ฆฌ์˜ ๊ฐ์ •์ ์ธ ๊ธฐ์–ต์— ํŒŒ๊ณ ๋“ค ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
11:46
Occasionally, they can be so significant
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์–ด๋–ค ๋•Œ๋Š” ์Œํ–ฅ ํšจ๊ณผ๊ฐ€ ๋„ˆ๋ฌด๋‚˜ ๋šœ๋ ทํ•œ ์—ญํ• ์„ ํ•ด์„œ
11:49
that they become a character in a movie.
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์˜ํ™” ์†์—์„œ ๋“ฑ์žฅ์ธ๋ฌผ ๊ฐ™์€ ์—ญํ• ์„ ํ•˜๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
11:52
The sound of thunder may indicate divine intervention or anger.
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์ฒœ๋‘ฅ ์†Œ๋ฆฌ๋Š” ์‹ ์ ์ธ ๊ฐœ์ž…์ด๋‚˜ ๋ถ„๋…ธ๋ฅผ ๋‚˜ํƒ€๋‚ผ ์ˆ˜ ์žˆ์ฃ .
11:58
(Thunder)
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(์ฒœ๋‘ฅ ์†Œ๋ฆฌ)
12:03
Church bells can remind us of the passing of time,
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๊ตํšŒ ์ข…์†Œ๋ฆฌ๋Š” ์šฐ๋ฆฌ์—๊ฒŒ ์‹œ๊ฐ„์˜ ํ๋ฆ„์„ ์ผ๊นจ์šฐ๊ฑฐ๋‚˜
12:07
or perhaps our own mortality.
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์šฐ๋ฆฌ์˜ ์œ ํ•œ์„ฑ์„ ๋‚˜ํƒ€๋‚ด๊ธฐ๋„ ํ•ฉ๋‹ˆ๋‹ค.
12:11
(Bells ring)
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(์ข…์†Œ๋ฆฌ)
12:19
And breaking of glass can indicate the end of a relationship
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๊ทธ๋ฆฌ๊ณ  ์ž”์ด ๊นจ์ง€๋Š” ์†Œ๋ฆฌ๋Š”
๊ด€๊ณ„๋‚˜ ์šฐ์ •์˜ ๋์„ ๋‚˜ํƒ€๋‚ผ ์ˆ˜ ์žˆ์Šต๋‹ˆ๋‹ค.
12:24
or a friendship.
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12:26
(Glass breaks)
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(์ž” ๊นจ์ง€๋Š” ์†Œ๋ฆฌ)
12:28
Scientists believe that dissonant sounds,
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๊ณผํ•™์ž๋“ค์€ ๋ถˆํ˜‘ ํ™”์Œ,
์˜ˆ๋ฅผ ๋“ค์–ด ์•„์ฃผ ํฌ๊ฒŒ ์—ฐ์ฃผ๋˜๋Š” ๊ธˆ๊ด€์ด๋‚˜ ๋ชฉ๊ด€ ์•…๊ธฐ ์†Œ๋ฆฌ๊ฐ€
12:32
for example, brass or wind instruments played very loud,
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12:38
may remind us of animal howls in nature
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์ž์—ฐ์—์„œ ๋“ฃ๋Š” ๋™๋ฌผ ์šธ์Œ์†Œ๋ฆฌ๋ฅผ ๋– ์˜ฌ๋ฆฌ๊ฒŒ ํ•˜๊ณ 
12:42
and therefore create a sense of irritation or fear.
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๊ทธ๋กœ ์ธํ•ด ๊ธด์žฅ๊ฐ์ด๋‚˜ ๊ณตํฌ์˜ ๊ฐ์ •์„ ๋Š๋ผ๊ฒŒ ํ•œ๋‹ค๊ณ  ๋ฏฟ์Šต๋‹ˆ๋‹ค.
12:46
(Brass and wind instruments play)
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(๊ธˆ๊ด€ ๋ฐ ๋ชฉ๊ด€ ์•…๊ธฐ ์†Œ๋ฆฌ)
12:52
So now we've spoken about on-screen sounds.
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์ง€๊ธˆ๊นŒ์ง€ ์šฐ๋ฆฌ๋Š” ํ™”๋ฉด์—์„œ ๋“œ๋Ÿฌ๋‚˜๋Š” ์†Œ๋ฆฌ์— ๊ด€ํ•ด ์ด์•ผ๊ธฐํ–ˆ์Šต๋‹ˆ๋‹ค.
12:56
But occasionally, the source of a sound cannot be seen.
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ํ•˜์ง€๋งŒ ์–ด๋–ค ๋•Œ๋Š” ์†Œ๋ฆฌ์˜ ์ถœ์ฒ˜๊ฐ€ ๋ณด์ด์ง€ ์•Š์„ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
13:00
That's what we call offscreen sounds,
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ํ™”๋ฉด ๋ฐ–์˜ ์†Œ๋ฆฌ, ๋˜๋Š”
13:03
or "acousmatic."
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'์–ด์ฟ ์Šค๋งˆํ‹ฑ'์ด๋ผ๊ณ  ๋ถˆ๋ฆฌ๋Š” ์†Œ๋ฆฌ์ž…๋‹ˆ๋‹ค.
13:05
Acousmatic sounds --
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์–ด์ฟ ์Šค๋งˆํ‹ฑ ์†Œ๋ฆฌ๋ž€,
13:07
well, the term "acousmatic" comes from Pythagoras in ancient Greece,
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์šฐ์„  ์–ด์ฟ ์Šค๋งˆํ‹ฑ์ด๋ผ๋Š” ๋ง์€ ๊ณ ๋Œ€ ๊ทธ๋ฆฌ์Šค์˜ ํ”ผํƒ€๊ณ ๋ผ์Šค์—์„œ ์œ ๋ž˜ํ•ฉ๋‹ˆ๋‹ค.
13:12
who used to teach behind a veil or curtain for years,
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ํ”ผํƒ€๊ณ ๋ผ์Šค๋Š” ์—ฌ๋Ÿฌ ํ•ด ๋™์•ˆ ์žฅ๋ง‰์ด๋‚˜ ์ปคํŠผ ๋’ค์—์„œ ๊ฐ•์—ฐํ–ˆ๊ณ 
13:16
not revealing himself to his disciples.
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์ œ์ž๋“ค์—๊ฒŒ ์ž์‹ ์„ ๋“œ๋Ÿฌ๋‚ด์ง€ ์•Š์•˜์Šต๋‹ˆ๋‹ค.
13:19
I think the mathematician and philosopher thought that,
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์ €๋Š” ์ด ์ˆ˜ํ•™์ž์ด์ž ์ฒ ํ•™์ž๊ฐ€
13:23
in that way,
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์ด๋ ‡๊ฒŒ ์ƒ๊ฐํ–ˆ์„ ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
13:25
his students might focus more on the voice,
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๊ทธ๋Ÿผ์œผ๋กœ์จ ํ•™์ƒ๋“ค์ด ๋งํ•˜๋Š” ๊ทธ์˜ ๊ฒ‰๋ชจ์Šต์ด ์•„๋‹ˆ๋ผ
13:29
and his words and its meaning,
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์ž์‹ ์˜ ๋ชฉ์†Œ๋ฆฌ์—,
13:31
rather than the visual of him speaking.
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๊ทธ๊ฐ€ ํ•˜๋Š” ๋ง๊ณผ ์˜๋ฏธ์— ๋ณด๋‹ค ๋” ์ง‘์ค‘ํ•  ๊ฒƒ์ด๋ผ๊ณ ์š”.
13:34
So sort of like the Wizard of Oz,
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์–ด๋–ค ๋ฉด์—์„œ ์˜ค์ฆˆ์˜ ๋งˆ๋ฒ•์‚ฌ๋‚˜
13:37
or "1984's" Big Brother,
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1984์˜ ๋น…๋ธŒ๋ผ๋”๊ฐ€
13:42
separating the voice from its source,
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์†Œ๋ฆฌ๋ฅผ ์Œ์›๊ณผ ๋ถ„๋ฆฌํ•˜๊ณ ,
13:45
separating cause and effect
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์›์ธ๊ณผ ํšจ๊ณผ๋ฅผ ๋ถ„๋ฆฌํ•จ์œผ๋กœ์จ
13:48
sort of creates a sense of ubiquity or panopticism,
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๋ชจ๋“  ๊ณณ์— ์žˆ์œผ๋ฉฐ ๋ชจ๋“  ๊ฒƒ์„ ๋ณด๊ณ  ์žˆ๋‹ค๋Š” ๋Š๋‚Œ,
13:52
and therefore, authority.
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๋”ฐ๋ผ์„œ ๊ถŒ๋ ฅ์˜ ๋Š๋‚Œ์„ ๋งŒ๋“ค์–ด๋‚ธ ๊ฒƒ ์ฒ˜๋Ÿผ์š”.
13:55
There's a strong tradition of acousmatic sound.
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์–ด์ฟ ์Šค๋งˆํ‹ฑ ์†Œ๋ฆฌ์— ๊ด€ํ•œ ๊ฐ•๋ ฅํ•œ ์ „ํ†ต์ด ์žˆ์Šต๋‹ˆ๋‹ค.
13:59
Nuns in monasteries in Rome and Venice used to sing in rooms
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๋กœ๋งˆ์™€ ๋ฒ ๋‹ˆ์Šค ์ˆ˜๋„์›์˜ ์ˆ˜๋…€๋“ค์€
์ฒœ์žฅ์— ๊ฐ€๊นŒ์šด ๋ฐฉ์—์„œ ๋…ธ๋ž˜ํ•˜๊ณค ํ–ˆ๋Š”๋ฐ
14:05
up in galleries close to the ceiling,
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14:09
creating the illusion that we're listening to angels up in the sky.
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์šฐ๋ฆฌ๊ฐ€ ํ•˜๋Š˜ ์œ„ ์ฒœ์‚ฌ๋“ค์˜ ์Œ์„ฑ์„ ๋“ฃ๊ณ  ์žˆ๋Š” ๋“ฏํ•œ ์ฐฉ๊ฐ์„ ๋ถˆ๋Ÿฌ์ผ์œผํ‚ต๋‹ˆ๋‹ค.
14:14
Richard Wagner famously created the hidden orchestra
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๋ฆฌํ•˜๋ฅดํŠธ ๋ฐ”๊ทธ๋„ˆ๋Š” ๋ฌด๋Œ€์™€ ๊ฐ์„ ์‚ฌ์ด ๊ณต๊ฐ„์— ์ˆจ๊ฒจ์ง„
14:18
that was placed in a pit between the stage and the audience.
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์˜ค์ผ€์ŠคํŠธ๋ผ์„์„ ํ›Œ๋ฅญํ•˜๊ฒŒ ๋งŒ๋“ค์–ด๋ƒˆ์Šต๋‹ˆ๋‹ค.
14:21
And one of my heroes, Aphex Twin, famously hid in dark corners of clubs.
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๋˜ ์ œ ์˜์›… ์ค‘ ํ•œ๋ช…์ธ ์—์ดํŽ™์Šค ํŠธ์œˆ์€ ํด๋Ÿฝ์˜ ์–ด๋‘์šด ๊ตฌ์„์— ์ˆจ์—ˆ์ฃ .
14:27
I think what all these masters knew is that by hiding the source,
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์ œ ์ƒ๊ฐ์— ์ด๋“ค ๊ฑฐ์žฅ๋“ค์€ ๋ชจ๋‘ ์†Œ๋ฆฌ์˜ ์ถœ์ฒ˜๋ฅผ ์ˆจ๊น€์œผ๋กœ์จ
์‹ ๋น„๋กœ์šด ๋Š๋‚Œ์„ ๋งŒ๋“ค์–ด๋‚ผ ์ˆ˜ ์žˆ์Œ์„ ์•Œ์•˜๋˜ ๊ฒƒ ๊ฐ™์Šต๋‹ˆ๋‹ค.
14:32
you create a sense of mystery.
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14:33
This has been seen in cinema over and over,
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์ด๋Š” ์˜ํ™”์—์„œ๋„ ์—ฌ๋Ÿฌ๋ฒˆ ๋‚˜ํƒ€๋‚ฌ์ฃ .
14:35
with Hitchcock, and Ridley Scott in "Alien."
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ํžˆ์น˜์ฝ• ๊ฐ๋…์˜ ์˜ํ™”์—์„œ, ๋ฆฌ๋“ค๋ฆฌ ์Šค์ฝง์˜ '์—์ด๋ฆฌ์–ธ'์—์„œ์š”.
14:39
Hearing a sound without knowing its source
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์ถœ์ฒ˜๋ฅผ ๋ชจ๋ฅด๋Š” ์†Œ๋ฆฌ๋ฅผ ๋“ฃ๋Š” ๊ฒƒ์€
14:41
is going to create some sort of tension.
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์–ด๋–ค ์ข…๋ฅ˜์˜ ๊ธด์žฅ๊ฐ์„ ์œ ๋ฐœ์‹œํ‚ต๋‹ˆ๋‹ค.
14:46
Also, it can minimize certain visual restrictions that directors have
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๋˜ํ•œ, ์ด๋Š” ๊ฐ๋…๋“ค์ด ์ง€๋‹Œ ํŠน์ •ํ•œ ์‹œ๊ฐ์  ์ œํ•œ์„ ์ตœ์†Œํ™”ํ•˜๊ณ ,
14:52
and can show something that wasn't there during filming.
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์˜ํ™”๋ฅผ ์ฐ์„ ๋•Œ ์‹ค์ œ๋กœ๋Š” ๊ฑฐ๊ธฐ ์—†์—ˆ๋˜ ์–ด๋–ค ๊ฒƒ์„ ๋ณด์—ฌ์ค„ ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
14:55
And if all this sounds a little theoretical,
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์ด ๋ชจ๋“  ์ด์•ผ๊ธฐ๊ฐ€ ์กฐ๊ธˆ ๋”ฑ๋”ฑํ•˜๊ฒŒ ๋“ค๋ฆฌ์‹ ๋‹ค๋ฉด,
14:57
I wanted to play a little video.
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์˜์ƒ์„ ํ•˜๋‚˜ ๋ณด์—ฌ๋“œ๋ฆฌ๊ฒ ์Šต๋‹ˆ๋‹ค.
15:01
(Toy squeaks)
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(์žฅ๋‚œ๊ฐ ์‚‘์‚‘๊ฑฐ๋ฆฌ๋Š” ์†Œ๋ฆฌ)
15:04
(Typewriter)
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(ํƒ€์ž๊ธฐ ์†Œ๋ฆฌ)
15:07
(Drums)
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(๋“œ๋Ÿผ ์†Œ๋ฆฌ)
15:11
(Ping-pong)
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(ํƒ๊ตฌ๊ณต ์†Œ๋ฆฌ)
15:14
(Knives being sharpened)
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(์นผ ๊ฐ€๋Š” ์†Œ๋ฆฌ)
15:17
(Record scratches)
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(๋ ˆ์ฝ”๋“œํŒ ๊ธ๋Š” ์†Œ๋ฆฌ)
15:21
(Saw cuts)
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(ํ†ฑ์งˆํ•˜๋Š” ์†Œ๋ฆฌ)
15:22
(Woman screams)
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(์—ฌ์„ฑ์˜ ๋น„๋ช…)
15:24
What I'm sort of trying to demonstrate with these tools
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์ œ๊ฐ€ ์ด๋Ÿฌํ•œ ๋„๊ตฌ๋ฅผ ์ด์šฉํ•ด์„œ ๋“œ๋Ÿฌ๋‚ด๋ณด์ด๋ ค๋Š” ์ ์€
15:29
is that sound is a language.
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์Œํ–ฅ์ด๋ž€ ์–ธ์–ด๋ผ๋Š” ๊ฒƒ์ž…๋‹ˆ๋‹ค.
15:32
It can trick us by transporting us geographically;
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์šฐ๋ฆฌ๋ฅผ ์ง€๋ฆฌ์ ์œผ๋กœ ์ด๋™์‹œํ‚ฌ ์ˆ˜๋„ ์žˆ๊ณ 
15:36
it can change the mood;
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๋ถ„์œ„๊ธฐ๋ฅผ ๋ฐ”๊ฟ€ ์ˆ˜๋„ ์žˆ์œผ๋ฉฐ
15:38
it can set the pace;
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์†๋„๋ฅผ ์„ค์ •ํ•  ์ˆ˜๋„
15:41
it can make us laugh or it can make us scared.
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์šฐ๋ฆฌ๋ฅผ ์›ƒ๊ฒŒ ํ•  ์ˆ˜๋„ ์žˆ๊ณ  ๊ฒ์— ์งˆ๋ฆฌ๊ฒŒ ํ•  ์ˆ˜๋„ ์žˆ์Šต๋‹ˆ๋‹ค.
15:46
On a personal level, I fell in love with that language
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๊ฐœ์ธ์ ์œผ๋กœ, ์ €๋Š” ์ด ์–ธ์–ด์™€ ๋ช‡ ๋…„ ์ „ ์‚ฌ๋ž‘์— ๋น ์กŒ์Šต๋‹ˆ๋‹ค.
15:50
a few years ago,
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15:51
and somehow managed to make it into some sort of profession.
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๊ทธ๋ฆฌ๊ณ  ์–ด์ฐŒ ํ•˜๋‹ค ๋ณด๋‹ˆ ๊ทธ๊ฒƒ์„ ์ง์—…์ ์œผ๋กœ ํ•˜๊ฒŒ ๋˜์—ˆ๋„ค์š”.
15:57
And I think with our work through the sound library,
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์ œ ์ƒ๊ฐ์—, ์ €ํฌ ์ž‘์—…์€ ์Œํ–ฅ ๋ผ์ด๋ธŒ๋Ÿฌ๋ฆฌ๋ฅผ ํ†ตํ•ด
16:00
we're trying to kind of expand the vocabulary of that language.
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๊ทธ ์–ธ์–ด์˜ ์–ดํœ˜๋ฅผ ๋Š˜๋ฆฌ๋ ค๊ณ  ์‹œ๋„ํ•˜๋Š” ์ผ ๊ฐ™์Šต๋‹ˆ๋‹ค.
16:07
And in that way, we want to offer the right tools
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๊ทธ๋ฆฌ๊ณ  ๊ทธ๋Ÿผ์œผ๋กœ์จ ์—ฌ๋Ÿฌ ์‚ฌ๋žŒ๋“ค์—๊ฒŒ ๋„๊ตฌ๋ฅผ ์ œ๊ณตํ•  ์ˆ˜ ์žˆ๊ธฐ๋ฅผ ๋ฐ”๋ž๋‹ˆ๋‹ค.
16:11
to sound designers,
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์Œํ–ฅ ๋””์ž์ด๋„ˆ์—๊ฒŒ
16:12
filmmakers,
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์˜ํ™” ์ œ์ž‘์ž์—๊ฒŒ
16:14
and video game and app designers,
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๊ทธ๋ฆฌ๊ณ  ๋น„๋””์˜ค ๊ฒŒ์ž„์ด๋‚˜ ์•ฑ ๋””์ž์ด๋„ˆ์—๊ฒŒ
16:16
to keep telling even better stories
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์•Œ๋งž์€ ๋„๊ตฌ๋ฅผ ์ฃผ์–ด ๋” ๋‚˜์€ ์ด์•ผ๊ธฐ๋ฅผ ๋งŒ๋“ค ์ˆ˜ ์žˆ๊ฒŒ ํ•˜๊ณ 
16:20
and creating even more beautiful lies.
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๋” ์•„๋ฆ„๋‹ค์šด ๊ฑฐ์ง“์„ ์ฐฝ์กฐํ•ด๋‚ผ ์ˆ˜ ์žˆ๊ฒŒ ํ•˜๋Š” ๊ฒ๋‹ˆ๋‹ค.
16:23
So thanks for listening.
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๊ฐ์‚ฌํ•ฉ๋‹ˆ๋‹ค.
16:24
(Applause)
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(๋ฐ•์ˆ˜)
์ด ์›น์‚ฌ์ดํŠธ ์ •๋ณด

์ด ์‚ฌ์ดํŠธ๋Š” ์˜์–ด ํ•™์Šต์— ์œ ์šฉํ•œ YouTube ๋™์˜์ƒ์„ ์†Œ๊ฐœํ•ฉ๋‹ˆ๋‹ค. ์ „ ์„ธ๊ณ„ ์ตœ๊ณ ์˜ ์„ ์ƒ๋‹˜๋“ค์ด ๊ฐ€๋ฅด์น˜๋Š” ์˜์–ด ์ˆ˜์—…์„ ๋ณด๊ฒŒ ๋  ๊ฒƒ์ž…๋‹ˆ๋‹ค. ๊ฐ ๋™์˜์ƒ ํŽ˜์ด์ง€์— ํ‘œ์‹œ๋˜๋Š” ์˜์–ด ์ž๋ง‰์„ ๋”๋ธ” ํด๋ฆญํ•˜๋ฉด ๊ทธ๊ณณ์—์„œ ๋™์˜์ƒ์ด ์žฌ์ƒ๋ฉ๋‹ˆ๋‹ค. ๋น„๋””์˜ค ์žฌ์ƒ์— ๋งž์ถฐ ์ž๋ง‰์ด ์Šคํฌ๋กค๋ฉ๋‹ˆ๋‹ค. ์˜๊ฒฌ์ด๋‚˜ ์š”์ฒญ์ด ์žˆ๋Š” ๊ฒฝ์šฐ ์ด ๋ฌธ์˜ ์–‘์‹์„ ์‚ฌ์šฉํ•˜์—ฌ ๋ฌธ์˜ํ•˜์‹ญ์‹œ์˜ค.

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